A. Raskatov: Crying in the Wilderness

Istanbul Music Festival, 2014

At times, Raskatov’s use of the soloists (soprano Aneta Kapla-Marszalek, alto Anna Fijalkowska, countertenor Jakub Burzynski, tenor Tomasz Warmijak, and bass Przemyslaw Zywczok) echoed the “Lachrymosa” from Britten’s “War Requiem,” with short moaning phrases.

Burzynski’s extended fortissimo single note from within the choir was like a kryptonite beam from hell, warning us of dire consequences. 

Alexandra Ivanoff, Today’s Zaman (Turkey), June 15, 2014 

 P. Zych: Poiesis

Opera Nova, Bydgoszcz, 2013

(…) The role of Homer, dominating in the whole work, was presented by the most experienced singer in the cast – countertenor Jakub Burzyński, a singer with recording output, known from his acivity in the field of historically informed performance (he is the founder of LA TEMPESTA ensemble). Burzyński is an alto voice, but the composer lead the vocal part of Homer with the use of natural registers as well. Burzyński has the skill of easy register changes, which seems to be problematic to most of today's countertenors. Burzyński does it perfectly, with a great voice control. (…)

Hanna Wiszniewska, Mea Cultura, May 2013 

 H. Purcell: The Fairy Queen

Teatr Wielki, Poznań, 2011

(…) But the greatest pleasure was given to me by the players of LA TEMPESTA orchestra – one of the best early music ensembles in Poland, which showed great technique, fine articulation and rich palette of colors. (...)

Bartosz Kamiński, Ruch Muzyczny, May 2011


J.S.Bach: Purification Mass

CD, Arts Music, 2009

(...) Jakub Burzyński is a fine counter-tenor and the first singer of that ilk who runs an early music organisation and so is well placed to have created this conjectural JSB Mass. There are cantatas for alto solo written by Bach; but lesser known amongst them is the alto version of the bass cantata Ich habe genug BWV 82, which with its three contasting arias becomes the central panel of this innovative CD.

This makes for an enjoyable alternative Bach sacred experience. The reasoning is a little tortuous, maybe, but one is happy to go along with it. All the singers, soloists and choir members, are named in the booklet and all are good, as is the small period instrument LA TEMPESTA.

Musical Pointers, June 2009

A. Vivaldi: Dorilla in Tempe

Music Festival Znojmo, 2008

(...) The Nomio/Apollo role, written for castrato, was sung by countertenor Jakub Burzyński with an astonishing virtuosity, with well sounded voice – he was excellent. (...)

Der Neue Merker (Vienna), 21. 07. 2008 

A. Vivaldi: Vespers of Sorrow

CD, BIS Records, 2004

My principal record of the year is this captivating new Vivaldi release from the enterprising BIS label that combines scores which could have been used for an imagined Vespers on the popular Catholic feast commemorating the Seven Sorrows of the Blessed Virgin Mary – Our Lady of Sorrows. The performance could have taken place on the fifteenth September 1727 at the Ospedale della Pietà in Venice.

This remarkable and atmospheric programme is sung and directed by the supremely talented young Polish counter-tenor Jakub Burzynski who performs all the solo parts that Vivaldi wrote for both contralto and soprano voice. Burzynski gives a special and suitably reverent performance, not always technically perfect, yet so rich in passion and high in intensity. The Polish based period instrument and vocal ensemble LA TEMPESTA execute exceedingly secure and strikingly expressive performances, displaying excellent tone and textures throughout. 

Vivaldi has provided memorable, moving and inspired scores that are wholly compelling and enchanting infused with a certain spiritual mystery and awe. This BIS release is refreshingly distinctive and gives superb entertainment.

Zespół La Tempesta

Association Musica Humana

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