
NATALIA RUBIŚ
SopranoBiography
Natalia Rubiś – soprano, a graduate of the prestigious Yale School of Music. She has performed at the Gran Teatre del Liceu and Teatro Real in Madrid with Il Giardino Armonico under the direction of G. Antonini. Recently, she made her debut as Aida at the Kraków Opera.
She also played the role of Benigna in The Black Mask by K. Penderecki at the Grand Theatre – National Opera, for which she was nominated for the Olśnienia award. She has sung the role of Halka at the Wrocław Opera, Warsaw Chamber Opera, Polish Royal Opera, and during a tour with Capella Cracoviensis in Lisbon, Brussels, and Prague. She has also performed at the Prague Rudolfinum, as well as in philharmonic halls in Brno, Poznań, Kraków, and at the National Forum of Music (NFM) in Wrocław. At Musikverein, she performed J.S. Bach’s St. John Passion.
Her repertoire includes roles such as Mozart’s Elettra, Vitellia, Contessa, Fiordiligi, Donna Elvira, and Donna Anna, Gounod’s Marguerite, Cherubini’s Faniska, Britten’s Helena, Purcell’s Dido, Lehár’s Liza, as well as Händel’s Almirena, Romilda, and Merab.
She has made numerous recordings, including Halka with Capella Cracoviensis, La fiera di Venezia with L’arte del mondo (Deutsche Harmonia Mundi), Universal Prayer by A. Panufnik with NFM Wrocław, as well as the opera Hrabina and Moniuszko’s cantatas (Widma, Nijoła) with Europa Galante. During the Ludwig van Beethoven Easter Festival, she recorded Faniska, Le pauvre matelot, and Salade (Milhaud) with Łukasz Borowicz.
She regularly performs in philharmonic halls across Poland, presenting works such as Haydn’s The Seasons (Warsaw), Saint-Saëns’ Oratorio de Noël, Odysseus and Christus by F. Liszt, and Szymanowski’s Stabat Mater (Kraków). Other performances include Mahler’s Symphony No. 4 (Poznań), Haydn’s The Creation and Panufnik’s Universal Prayer (Wrocław), Bach’s St. John Passion and Rachmaninoff’s The Bells (Łódź), Penderecki’s Credo and Dvořák’s Te Deum (Bydgoszcz), as well as Dvořák’s Requiem (Katowice).

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Reviews
Natalia Rubis gefällt als Calisto mit leuchtenden Koloraturen, die sich vor allem im zweiten Akt in der aus der Oper Alcina übernommenen Arie ”Tornami vagheggiar” entfalten können. Wenn sie im dritten Akt mit ihrem Schicksal hadert, geht Rubis’ Interpretation darstellerisch und stimmlich unter die Haut.
– Thomas Molke / Online Music Magazine
Erfolgreicher zeigt Natalia Rubiś als Einspringerin in der Partie der Callisto, wie solide Technik dem Ausdruck des Singens zuträglich ist: Mit ihrem hell timbrierten, schlanken Sopran lässt sie Staccati, punktierte Noten und elegante Figuren keck abspringen; erfüllt ihre Klagearie im dritten Akt mit feiner Wärme.
– Werner Häußner/ Online Merker
Contact
Pete Vuorio
pete.vuorio@chordus.fi
+358 40 0806 869
Pekka Rantio
pekka.rantio@chordus.fi
+358 40 7505 425