PRESS
L‘incoronazione di Poppea
-Ottavia-
Karolina Gumos portrays the cast away magnificently. Her clear faultless mezzo exudes warmth and also fire in the revenge.
OPERNWELT 02/06
You would have been happy to listen to Karolina Gumos’ strong and animated mezzo as the fulminate Ottavia for a longer period of time.
Orpheus 03/06
The favourite of the evening was Ottavia, who was excellently interpreted by Karolina Gumos.
Braunschweiger Zeitung 03.12.05
Otello
-Emilia-
Karolina Gumos, who will transfer to the “Komische Oper Berlin” (Comical opera in Berlin) in the next performance season, commanded attention as Emilia with a beautiful sounding mezzo soprano.
Rheingold
-Flosshilde-
You seldom hear the outstanding daughter’s of the Rhine-trio (Heike Susanne Daum, Maria Hilmes, Karolina Gumos) phrasing the text so intelligently and nuanced while remaining melodious – everything fits together well.
Cosi fan tutte
-Dorabella-
As Dorabella, Karolina Gumos portrays erotic
desire. Cute how she flirts with the audience in her angel wings.
Ruhr Nachrichten, 05.04.2005
Dorabella (Karolina Gumos) sings well
when she masters her solo arias.
Westfälische Nachrichten, 08.04.2005
Both women also display striking figures in bathing suits…
Karolina Gumos (Dorabella) sings enchantingly with her casual mezzo sounds....
Westfälische Rundschau, 05.04.2005
The Dortmund opera possesses an excellent Mozart-Ensemble, voices that combine the lyrical ease with a dramatic expression power.
Karolina Gumos
(Dorabella) doesn’t only flirt with conductor Kaftan in a wholesome mezzo ,
but with the gentlemen in the first row as well...
Westfalenpost 04.04.2005
The Knight of the Rose
Der Rosenkavalier
-Annina-
The instigator Annina is brilliant
(Karolina Gumos – also a joy visually).
WAZ 11/03
Through stage presence and fascinating song, Karolina Gumos raises the part of the instigator to an almost equal role.
online musik magazin 11/03
Eugen Onegin
-Olga-
As Olga, Tatjana’s younger sister, Karolina Gumos is a true discovery,
- she is a young woman that dances across the stage with a zest and lust for life. This can be observed physically as well as heard in the voice and above all, she vocally accomplishes to create a true character.
WDR3 -10/03
With a fresh, youthful voice, Karolina Gumos is vocally, as well as outwardly believable in the portrayal as young Olga.
online musik magazin 10/03
Olga ordained with pastel- coloured fashion accessories and walkman-headphones in her ears, skips and swings through life. She was interpreted by Karolina Gumos in an easy and light sounding manner.
The Tales of Hoffmann
-Niklas / Muse-
As Niklas/Muse, mezzo soprano Karolina Gumos is explicitly joyful and strong voiced.
Braunschweiger Zeitung 15.10.05
The new ensemble member Karolina Gumos had a more than impressive debut as the attractive Muse/Niklas; the Polish lady’s expressive, well rounded mezzo was instantly convincing.
Orpheus 03/06
New Years Concert 2006
Karolina Gumos succeeded quickly to gain everyone’s sympathy. Her high, often iridescent timbre gave her voice mystery along with clear expression.
Goslarsche Zeitung 03.01.06
Moses and Aron
-an invalid-
The sovereign accomplishment is admirable
the smaller roles included herein
the four nude virgins:
Ilse Eerens (as the young girl as well), Hanna Herfurtner, Karolina Gumos (also in the role of the ailing woman) and Constanze Heller.
OPERNGLAS 10/09
Madame Butterfly
-Suzuki-
Karolina Gumos mezzo soprano flows softly despite the physical and psychological abuse Suzuki must endure...
ORPHEUS 10/08
Die Fledermaus (The Bat)
-Prinz Orlofsky-
The role of Orlofsky is transferred to a visibly surprised woman by Falke.
- Karolina Gumos: soft but alluring, in voice as well as stature…
OPERNWELT 11/07
Because, according to the director’s stereotype all Russians always just drink; as Orlofsky, Karolina Gumos has to work through the part. She does it impressively and simply wholeheartedly...
Welt-Online, 24.09.2007
Only god knows why the Russian prince Orlofsky, melancholically and alcohol-addicted, doesn’t play another role for the remainder of the evening. Karolina Gumos in the role of prince Orlofsky sings and acts excellent.
Berliner Zeitung, 26.09.2007
The Tales of Hoffmann
-Giulietta-
The high class prostitute Giulietta - Karolina Gumos with the most convincing role portrayal.
OPERNWELT 03/07
Karolina Gumos' emotional, strong mezzo soprano voice doesn’t only turn her aria into a true siren song for Hoffmann.
Karolina Gumos enchanted with vocal sensuality and dominated the Giulietta-act that should not be eligible for a weapon permit or a TÜV-certification.
Karolina Gumos, wearing a tight dress, not only fascinates with her great figure and extra long legs, but also with a multi-variant and expressive voice.
As Giulietta, Karolina Gumos sang, acted and looked – understandably that one fell under her spell.
Neues Deutschland 07.02.07
The ladies sang magnificently:
Stella Doufexis as Muse, Cornelia Götz as Olympia and Karolina Gumos as Giulietta, who also wore the most beautiful robe of the evening.
As Giulietta in the Venice-Act Karolina Gumos enchanted vocally
and optically.
OPERNNETZ
La clemenza di Tito
-Sextus-
Again, the young Karolina Gumos as a torn apart Sextus, was a special treat whose colourful mezzo travelled through al layers without interruption.
Orpheus 05-06/06
The singers mastered constant emotional turmoil which reciprocated them between two stylistic extremes…especially the eloquently enchanting Sesto by Karolina Gumos.
OPERNWELT 05/06
Julie
-Julie-
The significantly dense atmosphere could essentially be attributed to the creativity of the protagonist. The manner in which Karolina Gumos portrayed the bored, promiscuous daughter of the Earl up to a lonely, helpless individual who opted for suicide was of outstanding format. She carried her high note colourful mezzo through all cliffs of the musically demanding part in an excellent manner.
Orpheus 03-04/06
Karolina Gumos sings "Julie" in a beautiful, plush, and clearly articulated mezzo sound that has been driven into insanity coloratura.
OPERNWELT 03/06
Karolina Gumos is a torn apart Julie
with a grandiose passion for acting and an emotional mezzo, that masters the Boesmansschen lyricisms with ambivalent expression.
In Braunschweig the mezzo soprano Karolina Gumos commenced to convert the title part, and the fit occasion of the composition into lovely sounds.
Hannoversche Allgemeine 16.01.06
The three soloists utilise this superbly,
especially Karolina Gumos in the –very touchingly enacted–
title role; with her warm and always effortless mezzo soprano.
Göttinger Tageblatt 17.01.06
The little Vixen
-Fox-
Only Karolina Gumos, in the thorny role of the Fox, sings with a consistently beautiful tone and makes us feel with her.
The Mastersingers of Nuremberg
-Magdalene-
Vocally splendid, Karolina Gumos as a Bel Canto Luxury-Magdalena
...that Dimitry Ivashchenko (Pogner) and Karolina Gumos as Magdalena stood out amongst countless Meistersingers.
Gesanglich glänzen Karolina Gumos als Magdalene und Tom Eirik Lie als Sixtus Beckmesser.
Hessische/Niedersächsische Allgemeine
the fantastic Magdalena portrayed by Karolina Gumos delivers a truly undeterred joy.
Dimitry Ivashchenko (Pogner) and Karolina Gumos as Magdalena musically excelled in the well maintained choir.
...Karolina Gumos’ melodious Magdalene as the twin-like guardian of trophy-girl Eva.
The versatile Karolina Gumos as Magdalene (here also present in the first scene of the third act), Thomas Eberstein as Sachs’ apprentice David and Dimitry Ivashchenko as the sovereign Pogner provide convincing role profiles in song as well as representational.
La Perichole
-Perichole-
Karolina Gumos as a street kid is as cunning as the alert lady of court Périchole. Together with Johannes Chum as Piquilla she doesn’t only know how to belt out daring chansons but also how to dive into Wagner's «Nacht der Liebe» (night of love).
Kultiversum
Karolina Gumos as Perichole and Johannes Chum were as much the convincing „Offenbacher“with vocal easiness as they were Wagner-excursionists: Why not sung by a mezzo for a change.
Deutschlandfunk
The soloists, famous from many other productions, have outdone themselves. Above all, Karolina Gumos, who lends a subtle common note to Perichole.
OPERNWELT 07/10
In the dungeon Piquillo and Périchole, who came to his rescue, sing the first part of the love duet from Tristan and Isolde, „O sink hernieder, Nacht der Liebe“, (Oh descend, night of love),– so perfectly and full of atmosphere that the subsequent final acts could not top it. Karolina Gumos as the attractive street singer Périchole and Johannes Chum as statuesque street singer Pequillo, perform this as implied Wagner segment, as well as with the ease of this „Offenbach“- Couple, equally convincing lovers.
Neue Musikzeitung
The trio consisting of vice king (Roger Smeets), Périchole (Karoline Gumos) and Piquillo (Johannes Chum) is convincing vocally as well as representatively.
Deutschlandradio Kultur
The Knight of the Rose
- Der Rosenkavalier -
-Octavian-
The impersonation of young Octavian by the Polish singer Karolina Gumos, whom I haven’t previously heard off, I must admit, was a pleasant surprise. She was excellent! Very convincing as a boy in love, an eternal cherubim (tall and slender), but also as a chambermaid where she displayed her female charm as a terse farmer’s wife and also had a lot of fun with it. The acting ability was equal to the singing ability. It was truly a pleasure to observe as well as listen to her.
POLITYKA pl
Armide
-Hate-
Here Karolina Gumos, in a little black dress and a bouquet of red roses, fired true mezzo broad sides but without submitting to the temptation to force the pace.
Pique Dame
-Polina-
Karolina Gumos provided the listener’s with the most beautiful voice of the evening in the role of Polina - a sensitive, melodious mezzo with its own allure.
Orpheus 03-04/09
In the secondary roles Karolina Gumos stood out especially in her role of Lisa’s girlfriend Polina, a mezzo with refined timbre, reminiscent of dark chocolate.
Märkische Allgemeine 02/09
You can learn how to sing low and beautiful from Karolina Gumos, who has
a mesmerizing presence as Polina.
Frankfurter Rundschau 01/09
Karolina Gumos as Polina provides a slimly executed but warm glowing alto and a high amount of text audibility.
FAZ 01/09
Without Karolina Gumos’ interesting alto voice in her small interlude as girlfriend Polina and Ana Salas’s creative intelligence the friendly embraced but mystery lacking evening would have fallen decisively short.
Berliner Zeitung, 01/09
Karolina Gumos, sounded great and sensual ...
Klassik in Berlin 01/09
Karolina Gumos is a captivating Polina...
Klassik in Berlin 01/09
