A role that became a friend: Małgorzata Walewska bids farewell to Amneris
Over thirty years ago, on June 1, 1994, she made her debut as Amneris in “Aida” on the stage of the Polish National Opera in Warsaw. She was only 29, and that dramatic role from Verdi’s repertoire is considered demanding and difficult. During two performances in September at the Silesian Opera in Bytom, mezzo-soprano Małgorzata Walewska will sing the role for the last time. The story of an artist and the role that built her international career.
When did you first hear the name Amneris?
I must admit that before 1994, when Andrzej Straszyński, the director of the National Opera, offered me the role, I had only a vague idea of it. Of course, I knew Verdi had written Aida, but I only associated it with the Triumphal March. I was in my final year of studies at the time, and all I dreamed about was singing and expressing emotions on stage. I didn’t delve into the history of opera or analyze roles. I was preparing arias and songs assigned by my professor, Halina Słonicka, just to pass my exams. I had practically no role models for Amneris or any other character. Let me remind you that in the 1990s, access to recordings wasn’t easy.
Hard to believe you didn’t cover Verdi’s operas in music history classes?
We probably did, but I’m not sure where I was at the time. A lot was going on during my studies — I was traveling for international vocal competitions, debuting at the National Opera, and I had a baby daughter. I might have missed or slept through that class.
And once you got the score, what happened next?
I was assigned to work with Teresa Brzozowska, a rehearsal pianist with a stern demeanor who intimidated me greatly. I threw myself into learning the role, studying it diligently in every spare moment, as I had only three months to prepare. I had to jump into a production that had been on stage in Warsaw since 1986. It was a lavish production dripping with gold and adorned with peacock feathers, directed by Marek Weiss-Grzesiński and Andrzej Kreütz Majewski. Unfortunately, I hadn’t seen the production because I was constantly shuttling between the opera houses in Bremen, Vienna, and Warsaw. I saw the Aida set for the first time while standing on stage during a performance.
Amneris is a domineering and vengeful woman. Out of jealousy over her beloved, she’s ready to do anything, caring only about her own emotions. Through deceitful scheming, she uncovers Aida’s love for Radamès. Could a woman like this ever inspire sympathy?
But of course! I love every character I embody on stage. Amneris wasn’t an easy one, though — even though she’s Egyptian, she sings in Italian. I didn’t speak the language at the time and had to translate every single word. I wanted to understand the meaning of the sentences to convey the right emotions. The more I learned about Amneris, the more I liked her. She’s a flesh-and-blood woman and, most importantly for me, not one-dimensional. The opera’s finale shows her in utter despair. The powerful princess suffers the consequences of her accusations — her testimony leads to the death of her beloved Radamès. How can you not fall in love with such a character? I gave her my whole heart.
On social media, you called Amneris your friend. But how can a domineering, ruthless, emotionally torn, vengeful woman be a “friend”? That sounds more like a nightmare than a friendship.
That was a metaphor, of course. Amneris and I traveled the world together. We were in Berlin, Essen, Düsseldorf, London, Brussels, Savonlinna, Sanxay, Seville, Athens, Riga, Gdańsk, Bytom — even in Qatar! Thanks to Amneris, I experienced the most moving moments and received the best reviews of my career. Because of her, I got a contract at Covent Garden, I felt the energy of a 20,000-strong audience at Earl’s Court in London, I sang for the royal family of Qatar, and lived through magical moments during a night performance at the foot of the Acropolis.
Let’s go back to your debut in the role. What was that first time like?
What was it like? I was dying of fear! Especially since I didn’t have any rehearsals in costume or on the set. And I was the mother of a one-year-old baby. I remember losing 2.5 kilos during the performance, and during the big judgment scene, when I fell to my knees and collapsed in despair over Radamès being sentenced to death, I truly cried. My false eyelashes even came unglued.
After all these years and so many performances, didn’t Amneris become boring?
Never! There was always something new — a new place, new partners, different productions, costumes, props. I kept receiving new energy and discovering new ways to express emotions. That kept her interesting for me all the time.
In September, you’ll sing Amneris for the last time in two Aida performances at the Silesian Opera in Bytom. Why now?
First of all, I feel I’ve said everything I had to say in this role. Secondly, I turned 60 this year, and I’m happy to pass the baton to a younger Amneris, one who will burn with passionate love for some Radamès. Thirdly, being Amneris is a massive physical and emotional challenge, and I now need more and more time to recover after each performance. My mother understands that, but my younger sister cannot believe I want to say goodbye to the role I love so much.
A farewell to Amneris in Bytom – and then, a new challenge awaits you with the Bytom fashion brand. What is it?
I am debuting as a model. I’ll walk the runway in a show that marks the 80th anniversary of this Polish brand. I’m proud to support our native tailoring, which represents both class and tradition.
Who? What? Where? When?
“Aida” Giuseppe Verdi
Performances: September 12 & 14, 2025
Venue: Silesian Opera, Bytom