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Soprano Natalia Rubis, praised by the German press for her ”clear and warm voice with luminous coloraturas”, recently debuted the role of La Contessa in Le nozze di Figaro at the Grand Theater in Łódź. Her previous engagements include the role of Donna Elvira in Michał Znaniecki’s new production of Don Giovanni for the Warsaw Chamber Opera, Tadeusz Kozłowski conducted. She performed Penderecki’s Kaddish at the 25. Beethoven Easter Festival, where year before she sang and recorded the title role in Cherubini’s Faniska under the baton of Łukasz Borowicz. She appeared in Haydn’s The Creation at the National Forum of Music in Wroclaw with the Jerzy Semkow Polish Sinfonia Iuventus Orchestra and Polish National Youth Choir under the baton of Andrzej Kosendiak. At the Chopin and his Europe Festival she sang the role of Bronia in Moniuszko’s The Countess with Fabio Biondi and Europa Galante which was recorded on a CD.

In previous seasons she performed Moniuszko’s Halka and Marguerite in Gounod’s Faust with the Wroclaw Opera House, debut in Halka (Vilnius version) with the Warsaw Chamber Opera (WOK), and for Krzysztof Penderecki’s 86th birthday she sang his Credo. She performed the part of Merab in Händel’s Saul with Czech Ensemble Baroque at the Znojmo Music Festival in Czech Republic. She could also be heard in the concert version of Halka in Lisbon, Brussels and Prague with Capella Cracoviensis. The recording of this opera will be released in October of 2021.

Other opera credits of Ms. Rubis include the roles of Cristallina in Salieri’s La fiera di Venezia with L’arte del mondo (with the CD recording for Sony) and Fiordiligi in Cosí fan tutte at the Bach Festival in Poland, Euridice and Musica in Monteverdi’s Orfeo in Düsseldorf, Helena in A Midsummer Night’s Dream, Despina in Cosí fan tutte and Sa Femme in Le pauvre matelot with the Yale Opera. She performed also as oratorio soloist in Mozart’s Requiem with Sinfonia Varsovia in Warsaw, made her first appearance at the Beethoven Easter Festival at the Warsaw Philharmonic with Moniuszko’s The Phantoms. During the celebration of the Centenary of Polish Independence she sang with the Chicago Philharmonic Missa pro pace by Kilar in Chicago.

Ms. Rubis made her international debut in 2014 as Calisto in Giove in Argo by Händel at the Händel- Festspiele in Halle, Germany. Since that time she has been invited to perform other baroque operas, such as Xerxes (role of Romilda) or Le Cinesi (role of Sivene) by Gluck in Dresden and Bad Lauchstädt, but also Bach’s cantatas with Collegium 1704 in Dresden and Prague In Poland, Ms. Rubis sang the world premiere of David Chesky’s Letter to a composer for Krzysztof Penderecki’s Birthday Festival with Sinfonietta Cracovia. She took part in the Polish premier of Carter’s Tempo e tempi at the Nostalgia Festival, was a soloist in the Faure’s Requiem, and recorded a CD of operetta love duets with her husband, Krystian Adam, for DUX. For Fryderyk Chopin Institut she recorded on a DVD Donizetti’s Requiem and on a CD Stefani’s Krakowiacy i górale together with Collegium 1704. With L’arte del mondo she had recorded Salieri’s La fiera di Venezia for Deutsche Harmonia Mundi.

Ms. Rubis earned a Master of Musical Arts in Opera from the Yale School of Music in May 2017 and a Master of Music in Oratorio and a Bachelor of Music in Voice from the Wroclaw Music Academy (2014). She holds a Master in Economics from University of Economics in Wrocław (2009).




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


Pete Vuorio
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