Praised for his “dark-hued, expressive baritone and captivating stage presence” (Opera Actual), Polish baritone Szymon Mechliński is establishing himself as one of the most compelling young Verdian voices of his generation.
A winner of the prestigious Stanisław Moniuszko International Vocal Competition, in the upcoming 2025/26 season he makes several major debuts: the title role in Król Roger in concert at the Philharmonie Berlin and at the Teatr Wielki Poznań, Santa Fe Opera Festival debut as Marcello La bohème, Herrufer Lohengrin at the Staatsoper Hamburg, and Giorgio Germont La traviata, Paolo Albiani Simon Boccanegra, and Marcello La bohème at the Polish National Opera.
Recent career highlights include his debut at the Teatro Massimo di Palermo as Sharpless Madama Butterfly, Valentin Faust with the Canadian Opera Company, Lord Guglielmo Cecil Maria Stuarda at the Teatro Real Madrid, the Dutch National Opera and Don Pizarro Fidelio at the Opéra National de Bordeaux, as well as acclaimed performances at the Polish National Opera as Amonasro Aida, Marcello La bohème, and Francesco Cenci Beatrix Cenci. He has also appeared as Miecznik The Haunted Manor at the Teatr Wielki Poznań, Conte di Luna Il trovatore at the Teatro Regio di Parma.
Mechlinski exhibited a rich, powerful baritone that seems ready for the full array of roles in the dramatic baritone range.Mechlinski’s warm baritone sounded beautifully throughout the evening, and was especially pleasing in his third scene duet with D’Eramo’s Mimi
As the painter Marcello, Polish baritone Szymon Mechlinski made an impressive American debut.
He has an incisive, dark-timbered voice, and a stage presence that moved easily from a relaxed casualness with his fellow Bohemians up to a volcanic temperament when angered by Musetta’s serial capriciousness
The opposite projection is well-shown in the Consul Sharpless, portrayed by Simon Mechlinski, whose beautifully burnished timbre brilliantly supports him both in his dialogue with Butterfly and in the poignant trio of the final act
In contrast, Simon Mechliński's interesting baritone string, grappling with Sharpless's conversational singing, proves to be well settled and homogeneous throughout the range, as well as capable of excellent stage realization of the U.S. consul
Another highlight of the evening was the exceptional voice of young Polish baritone Simon Mechliński in the role of Sharpless. He puts the power of a wonderfully projected and articulate sonorous voice at the service of the American consul's morality
As noted Simon Mechlinski performed the role of the Count de Luna and, just like with the duet, he was captivating throughout the evening. The moment he entered singing his “Tacea la notte” his voice was filled with elegance and beauty. These lines were sung with a melting expression. But in the trio that all changed and his voice gained strength and his breath control was striking as he sang the patterlike staccato phrasing with ease and with such increíble enunciation and diction. Here his tone boomed with anger and force. This was just a warmup for the aria to come. His “Il balen del suo sorriso” was a masterclass in breath control and sustaining lines. From the moment he started the aria, the voice was ardent with expression. His Count was romantic in every way and for these four minutes, one forgot that he was the villain of the opera. His melting baritone could go from a gorgeous mezzopiano to a passionate forte and each note was impeccably connected. Then after the passion of the aria came the cabaletta “Per me ora fatale.” Here the smoldering ardor was back but coupled with strength and drive. Each time he would push the tempo forward to emphasize his power. And what was so impressive about Mechlinski…on the repeat of the cabaletta, his breath control got better and his vocal quality gained strength. In the second part, during the “In braccio al mio rival,” the baritone sang with a sardonic tone that brought out the villainous quality of the character and showed his power over Azucena. But in their next interaction at the end of the opera, his final lines “E vivo ancor!” the bartone sang with remorse and madness. It was by far one of the best Count interpretations I have seen
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