Reviews

“Mezzo-soprano Michèle Bogdanowicz sang Mistress Slender. Smooth-toned and fluid [she] enchanted. Charging her revenge aria, Vendetta, sì, vendetta, with crackling energy, Bogdanowicz lit up the stage.”

Ian Ritchie OPERAGOTO.COM, March 2016
Salieri Falstaff (Opera in Concert)

“The first quality to reveal itself is the brilliance of performers”

John Terauds MUSICALTORONTO.ORG, March 14, 2016
CD Cloud Light, songs of Norbert Palej

“Michèle Bogdanowicz commissioned Palej's Four Lyrical Moments in 2013, and the set was premiered as a gift to her father, who was displaced from Poland during WWII. "Such a personal occasion for the songs," Wiliford and Philcox write in their album notes, "in addition to a shared cultural history between composer and performer, make this work unique among the three cycles."…    “Bogdanowicz sings with her rich, ringing sound, and she seems to find freedom in the folk-like songs.”

Jenna Douglas SCHMOPERA.COM, March 7 2016
CD Cloud Light, songs of Norbert Palej

"Bogdanowicz’s dramatic abilities shone in songs that were by turns dark¸ droll, or dynamic."

BARCZA BLOG November 2 2013: Recital Gallery 345

"The key roles belong to women, and Michèle Bogdanowicz as Luisa Fernanda sang magnificently."

Paula Citron, CLASSICAL 96.3 FM, March 17 2011: 
Luisa Fernanda (Toronto Operetta Theatre)

"Bogdanowicz’s sparkling soprano conveyed the vitality and youth of the title character"

Christopher Hoile, THE WHOLENOTE, March 14 2011: 
Luisa Fernanda (Toronto Operetta Theatre)

"Despina, the maid, looks a bit like Deborah Harry; [her role is] played and sung attractively... Michèle Bogdanowicz's Despina is sly and spunky… having fun, not doing harm."

Kevin Bazzana, TIMES COLONIST April 17, 2010: 
Despina, Cosi fan tutte (Pacific Opera Victoria)

"As...Yum-Yum, Michèle Bogdanowicz is bright and perky but sings “The Sun Whose Rays” in Act 2 as a full-fledged opera aria with the result that it gains in depth and power."

Christopher Hoile, EYE WEEKLY, April 24, 2008:
Yum-Yum, The Mikado (Toronto Operetta Theatre)

"... Michèle Bogdanowicz, makes a sweet Yum-Yum who delivers her songs with aplomb."

Richard Ouzounian, THE TORONTO STAR, April 21, 2008: 
Yum-Yum, The Mikado (Toronto Operetta Theatre)

"... Bogdanowicz has a wonderful voice and made a significant contribution to the piece [Copland's In the beginning], but she made a stronger impression still when she and Larkin returned to the stage without the chorus. The occasion was a moving rendition of Copland's Twelve Poems of Emily Dickinson. Poets are often less than fond of having their verse set to music, considering the words sufficient unto themselves. Poetry as great as Dickinson's has no need of musical enhancement. And yet Copland was able create a song cycle, one of the finest in English, that offers different insights and beauties even as it partly obscures the quiet simplicity of the poems. Bogdanowicz and Larkin, accompanying her on the piano, set forth rich and persuasive performances of each song."

Richard Todd, OTTAWA CITIZEN, February 17, 2008 (Ottawa Choral Society)

"...the two singers who stole the show were Valerian Ruminski and Michèle Bogdanowicz…the young Canadian singer lit up the stage with her beautifully expressive voice and ebullient stage personality. She is a talent to watch."

Denis Armstrong, OTTAWA SUN, November 12, 2007: Zerlina, Don Giovanni (Opera Lyra)

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“Les autres protagonistes sont à l’avenant. Le couple Zerlina/Masetto séduit par le charme et l’élégance vocale. Michèle Bogdanowicz campe une paysanne affriolante dotée d’un beau soprano léger mais à l’émission franche et agissante. Quelle classe son «Vedrai carino» et davantage encore son «Batti, batti o bel Masetto», le moment le plus sensuel de la soirée avec, dans sa partie finale, ce caressant accompagnement des violoncelles.”

Réal Boucher, LE MAGAZINE DE L'OPERA ET DU MONDE LYRIQUE, November, 2007: Zerlina, Don Giovanni (Opera Lyra)

"Michèle Bogdanowicz did a nice Zerlina..."

Richard Todd, OTTAWA CITIZEN, November 12, 2007:
Zerlina, Don Giovanni (Opera Lyra)

"Michèle Bogdanowicz showed a lovely 'speaking' quality in Deh vieni"

Brian Kellow, OPERA NEWS, May 2007 (George London Foundation for Singers preliminaries)

"Superior vocal and acting abilities are revealed by… Michèle Bogdanowicz [who] reveals her flirty side as the coquette Zerlina."

Grania Litwin, TIMES COLONIST, Saturday, April 21, 2007: Zerlina, Don Giovanni (Pacific Opera Victoria)

"...making big career moves, Michèle Bogdanowicz acquitted [herself] superbly as Zerlina."

Paul Citron, CLASSICAL 96.3FM, October 24, 2006: Zerlina, Don Giovanni (Opera Hamilton)

"Zerlina was a suitably coquettish gal..."

Leonard Turnevicius, THE HAMILTON SPECTATOR, October 20, 2006: Zerlina, Don Giovanni (Opera Hamilton)

"Michèle Bogdanowicz was an ideal Papagena, perfectly matched in sound, perkiness and sense of joy with Peter Barrett’s Papageno."

Christopher Hoile, www.STAGE-DOOR.org, December 2006: 
Papagena, Die Zauberflöte (Canadian Opera Company Ensemble Studio)

"Peter Barrett...and his alternate, Justin Welsh...had good chemistry with the vivacious and sexy Papagena of Michèle Bogdanowicz"

Joseph K. So, OPERA CANADA, March 2006: 
Papagena, Die Zauberflöte (Canadian Opera Company Ensemble Studio)

"Both [Papagenos] had fun with Michèle Bogdanowicz, who twittered away with comic appeal as the equally birdlike Papagena"

NOW MAGAZINE, December 22-28, 2005: 
Papagena, Die Zauberflöte (Canadian Opera Company Ensemble Studio)

"Michèle Bogdanowicz was a perky Papagena"

Ken Winters, THE GLOBE AND MAIL, December 19, 2005: 
Papagena, Die Zauberflöte (Canadian Opera Company Ensemble Studio)

"Several Canadian singers in supporting roles were also ideally cast...Sopranos Virginia Hatfield as Frasquita and Michèle Bogdanowicz as Mercédès, Carmen's friends, were a treat in the ensembles."

Ken Winters, THE GLOBE AND MAIL, October 1 2005: 
Mercédès, Carmen (Canadian Opera Company)

"...sopranos Michèle Bogdanowicz and Virginia Hatfield generate more sexual energy in their supporting performances as Carmen's cohorts"

John Coulbourn, TORONTO SUN, October 1 2005: 
Mercédès, Carmen (Canadian Opera Company)

"...duets by members of the COC Ensemble were extraordinarily pleasing... Peter Barrett and Michèle Bogdanowicz made charming work of 'Dunque io son' from Rossini's the Barber of Seville"

Ken Winters, THE GLOBE AND MAIL, August 2005: Harbourfront Concert

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"......Michèle Bogdanowicz sparkled in Handel's [final duet] from Giulio Cesare"

Janos Gereben, POST NEWSPAPER GROUP, August 2005: Merola Grand Finale Concert, (Merola Opera Program, San Francisco Opera)

"Michèle Bogdanowicz, a sparkling Canadian soprano, convinced one and all that the Count and Figaro would literally duel for her affections."

John Bender, OPERA CANADA, September/October 2005: Susanna, Le Nozze di Figaro (Merola Opera Program, San Francisco Opera)

"Michèle Bogdanowicz as Susanna sang a meltingly beautiful 'Deh vieni non tardar'"

Olivia Stapp, SAN FRANCISCO CLASSICAL VOICE, July 2005: Susanna, Le Nozze di Figaro (Merola Opera Program, San Francisco Opera)

"What singers! Merola '05 opened with a stunner. Two of the principals, Michèle Bogdanowicz (Susanna) and David Crawford (Figaro) don't need no stinkin' training program - they were born to the stage, both are fully developed major singers. The soprano from Toronto exhibits a voice twice as large as her slight frame could be expected to support, and she projects powerfully into every nook of the old hangar. She is a natural, very funny, totally believable."

Janos Gereben, POST NEWSPAPER GROUP, July 2005: Susanna, Le Nozze di Figaro (Merola Opera Program, San Francisco Opera)

"bass David Crawford and soprano Michèle Bogdanowicz joined forces nimbly as Figaro and Susanna"

Joshua Kosman, CHRONICLE MUSIC CRITIC, July 2005: Susanna, Le Nozze di Figaro (Merola Opera Program, San Francisco Opera)

"At one level, this opera is about a clash of generations, and the younger one was well represented here by...Michèle Bogdanowicz, whose Nancy was the most sympathetic character in the whole opera"

Wayne Gooding, OPERA CANADA, Spring 2005: Nancy, Albert Herring (Canadian Opera Company Ensemble Studio)

"...standouts are...Peter McGillivray and Michèle Bogdanowicz as Sid and Nancy whose splendid duet shows their emotions and sensuality"

Jon Kaplan, NOW MAGAZINE , December 9-15 2004: Nancy, Albert Herring (Canadian Opera Company Ensemble Studio)

"Michèle is gorgeous, both physically and musically, with an unprecedented sense of warmth and beauty."

Wilhelm Kuelke, TORONTOSTAGE.COM, September 2004: New Ofglen, The Handmaid's Tale (Canadian Opera Company)

"Purcell's music was being quite beautifully performed by the consort and the chorus and the lead singers: ...[including] Michèle Bogdanowicz as the Second Witch."

Ken Winters, THE GLOBE AND MAIL, December 3, 2003: Second Witch, Dido and Aeneas (Canadian Opera Company Ensemble Studio)

"Michèle Bogdanowicz enraptured local audiences with her clear and powerful voice during concerts presented by the Northern Lights Music Festival from Canada."

Jeanne Chaussee, THE COLONY REPORTER, March 1st, 2003 (Northern Lights Music Festival - Ajijic, Jalisco Mexico)

"Michèle Bogdanowicz (Zerlina) and Phillip Addis (Masetto)  made a colorful and sympathetic couple."

Renée Maheu, OPERA CANADA, Fall 2002: Zerlina, Don Giovanni (Orford Festival)

"Cast standouts included...Michèle Bogdanowicz (Queen Clémentine) and her soft, warm mezzo-soprano"

Paula Citron, OPERA CANADA, Summer 2002: La Reine Clémentine, Barbe-Bleue (University of Toronto - Opera Division)

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"Special bravos go to...Michèle Bogdanowicz, who showed, in the role of Nancy Waters, that warmth and love can blossom even in the most claustrophobic environments."

Tamara Bernstein, NATIONAL POST, November 16, 2001: Nancy, Albert Herring
(University of Toronto - Opera Division)

"Bogdanowicz, who headed the Saturday cast, gave a confident, charismatic performance that could have stood proudly on a professional stage."

Tamara Bernstein, NATIONAL POST, March 13, 2001:  L'Enfant, L'Enfant et les sortilèges
(University of Toronto - Opera Division)

"Michèle Bogdanowicz (the Enfant) was delightfully méchant as she dashed about the stage, doing harm to both furniture and pets, she was most impressive, [a] moving child."

Paul Baker, OPERA CANADA, Summer 2001: L'Enfant, L'Enfant et les sortilèges
(University of Toronto - Opera Division)

"Michèle Bogdanowicz brought the right youthful touch to the trouser role of Pippo."

Wayne Gooding, OPERA CANADA, Spring 2001:
Pippo, La Gazza Ladra (Toronto Opera in Concert)
 

"Michèle Bogdanowicz dominated with natural simplicity and an ease of exemplary style, not only is her voice already relatively ripe,
she possess a freshness which seduces."

Francois Tousignant, LE DEVOIR, July 31 2000: Mathurine, L'ivrogne corrigé (Orford Festival)

"Michèle continues to show more artistry every time she sings, and her warm honeyed voice should lead to a good career."

Paula Citron, OPERA CANADA, Spring 2000:  Annie, The Shivaree (Toronto Opera in Concert)

 
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