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  16 Nov 19 MOZART Le nozze di Figaro (Count Almaviva)
  Metropolitan Opera New York

  “Adam Plachetka was a sleazy, bumbling Count, his vibrant, piercing voice particularly impressive in the ensembles of the second act. His “Vedro mentr’io sospiro” had plenty of vigor, with a particularly lustrous upper register, full of flair.”

  Callum John Blackmore, Parterre box, 18 November 2019

  “In the role of Count Almaviva, Adam Plachetka struck a figure that was comedic while not sacrificing any of the count’s menacing qualities; this was seen earlier on after furiously emerging from his hiding spot for the trio “Cosa sento.” His firm threatening phrases meshed well with Sierra and Giuseppe Filianoti’s fearful ones, building up to a nice reveal of the hiding Cherubino. As he mused on the events of the previous two acts, the set spun around to a set dinner table, as Susanna mustered up the courage to attempt luring him to the gardens later. His anger on realizing her ploy led to a nice, fiery rendition of his aria “Hai gia vinta la causa.” As he savored getting the last laugh on his servant, Plachetka indulged in firm yet darkly-excited ornaments.”

  Logan Martell, Opera Wire, 20 November 2019

   

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  28 Sep 19 ROSSINI Il Barbiere di Siviglia (Figaro)
  Lyric Opera Chicago

  “Tall and sturdy with a bass-baritone that rattled the opera house rafters, Plachetka could have simply overwhelmed everyone else on stage. But in addition to his strong, flexible voice, he is a gifted actor. His Figaro was a good-natured busybody but also savvy, light on his feet, capable of making himself disappear in plain sight when necessary. This was a vivid portrait of a consummate fixer, a small-town big fish who prides himself on always delivering the goods.”

  Wynne Delacoma, Chicago Sun-Times, 29 September 2019

  “Bass-baritone Adam Plachetka made a delightful Figaro, oozing charm and vocal generosity. His fast-paced “Largo al factotum” was a model of flexibility and power, and his character was filled with infectious good humor. He was outstanding in his mastery of physical comedy, and his presence was commanding and riveting throughout.”

  Henson Keys, Parterre box, 30 September 2019

  “Mr. Plachetka’s Figaro is athletic, both in physical movement and vocal projection. In his solo aria, ”Largo al factotum,” Plachetka negotiates leaps and hurdles on the stage while at once soaring to top pitches with equivalent ease. His breath control yielded a final, sustained pitch of remarkable evenness.”

  Salvatore Calomino, Opera Today, 09 October 2019

  “Czech bass-baritone Adam Plachetka had no such problem in the title role. His rafter-rattling voice, though not particularly Italianate, navigated Rossini’s scales and comedy with incredible precision, and his swagger on stage made him the absolute center of attention throughout the performance. Whether he was (failing to) hide behind a small tree or commanding the stage during a very agile “Largo al factotum,” Plachetka was a treasure on the stage throughout the opera.”

  Caleb Sussman, The Chicago Maroon, 13 October 2019

  “The role of Figaro is brilliantly presented by accomplished Czech bass-baritone Adam Plachetka. An outstanding singer and actor, Plachetka finds the best way to demonstrate Figaro’s energetic and merry personality. His flexible strong voice, excellent vocal articulation, sense of humor, mimics and body language make him a perfect fit for this role. Being a priceless comedian, Plachetka is funny and charming every time he appears on stage, starting with Figaro’s famous aria “Largo al factotum,” which gives the audience members both goosebumps and the feeling of joy. Plachetka has already played Mozart’s Figaro at Lyric, and now Rossini’s version gives him even more opportunities to show his comic talent.”

  Natalia Dagenhart, Daily Herald, 17 October 2019

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  06 Dec 17 MOZART Le nozze di Figaro (title role)
  Metropolitan Opera Company, New York

  “Adam Plachetka was a graceful, endearing Figaro.”
  Patrick Clement James, Parterre, 8 December 2017

  “Adam Plachetka is also a perfect match as Figaro; his portrayal does well to lean into the character’s attributes without overplaying them. These lovers, vocally and dramatically, are able to walk the fine line between subtlety while engaging the audience.”
  ★★★★ Felix Mathers, Classical Source, 9 December 2017

  “Adam Plachetka was [Karg’s] perfect foil as Figaro. His sonorous voice and strong stage presence fit the role like a glove.”
  ★★★★ Ako Imamura, Bachtrack, 10 December 2017

   

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  18 Jul 17 MOZART La Clemenza di Tito (Publio)
  Festspielhaus Baden-Baden

  ‘Tara Erraught incarne parfaitement toute la détresse d’Annio, auquel elle apporte une belle ferveur, tandis que Adam Plachetka parvient à se faire remarquer avec son Publio très soigné et d’une notable présence scénique et autorité vocale.’

  ‘Tara Erraught perfectly embodies all of Annio’s distress which she sings with great fervour, while Adam Plachetka manages to get noticed with his very fine Publio, sang with notable presence and vocal authority.’

  Michel Thomé, ResMusica, 8 July 2017

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  12 Dec 16 MOZART Die Zauberflöte (Papageno)
  Chicago Lyric Opera

  “The Czech bass-baritone sang well as the earthy birdcatcher and showed nimble, finely honed comedic instincts throughout.”
  Lawrence A. Johnson, Chicago Classical Review, 11 December 2016

  “Plachetka capered nimbly and sang wonderfully as the birdcatcher Papageno, endearing himself to the audience all the way through”
  John von Rhein, Chicago Tribune, 11 December 2016

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  26 Sep 15 MOZART Le nozze di Figaro (title role)
  Lyric Opera of Chicago

  “Adam Plachetka possesses a robust bass-baritone and characterized vividly as the wily Figaro”
  Lawrence A. Johnson, Chicago Classical Review, 27 September 2015

  “As Figaro, Adam Plachetka used his sonorous bass-baritone with nuance and assurance. His first-act aria “Non più andrai” had the requisite humor, as well as avuncular warmth, and showed a fine upper register. And in the fourth-act aria “Aprite un po’ quegli occhi,” he was notable for his phrasing and pacing of the vocal line.”
  James L. Zychowicz, Seen and Heard International, 30 September 2015

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  04 Feb 15 MOZART Don Giovanni (Masetto)
  Metropolitan Opera

  “Plachetka was also making his Met debut, and was strong throughout, making an attractive musical and comic pair with Lindsey’s Zerlina … Plachetka sang strongly and he was a fine and funny stage actor, moving with ease and showing his anger and frustration over the Don’s attentions to Zerlina without hamminess or buffoonery.”
  George Grella, New York Classical Review, 5 February 2015

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  19 Jun 14 MOZART Così fan tutte (Guglielmo)
  Teatro alla Scala Milan

  “The biggest cheers were saved for Adam Plachetka and Michele Pertusi who were magnificent in their respective roles… Plachetka’s Guglielmo possessed a burnished voice which was balanced from top to bottom. Also impressive was the baritone’s recitative, which displayed emotive intensity through razor-sharp Italian.”
  James Imam, Bachtrack, 23 June 2014

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  11 Jun 13 Mozart Le nozze di Figaro (title role)
  Glyndebourne Festival Opera

  “It’s beautifully sung and acted… Plachetka’s passionate directness offsets Majeski’s poise and Hopkins’s manipulative suavity.”
  Tim Ashley, The Guardian, 10 June 2013

  “Adam Plachetka and Laura Tatulescu are excellently matched as Figaro and Susannah, technically assured and confidently acted – and with such consistent performances across the cast, Mozart’s glorious ensemble arias are a real highlight of the evening.”
  Laura Battle, Financial Times, 10 June 2013 

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  01 Jan 12 Mozart Don Giovanni (Masetto)
  Royal Opera House Covent Garden

  “Adam Plachetka’s dark-toned Masetto was a pleasant surprise – a personality and voice travelling easily out into the amphitheatre”
  The Arts Desk, January 2012

  “a forceful, strikingly handsome Masetto from Adam Plachetka”
  The Guardian, January 2012

  “Adam Plachetka revealed a sonorous bass-baritone as Masetto and was one of the few singers onstage whom I want to hear again; he will sing Figaro at Glyndebourne, which in itself tells you that this debut was one to note.”
  OMH Music Review, January 2012

  “Adam Plachetka’s Masetto was endearingly characterised and solidly sung throughout.”
  Classicalsource.com, January 2012

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  01 Sep 11 Mozart Don Giovanni (title role)
  Vienna State Opera

  “The original Don Giovanni, Bo Skovhus, has had to withdraw, but at the Vienna State Opera they have the very young Adam Plachetka in the ensemble, who was able to take over. Adam’s house debut was last season as Masetto, and now he is making his successful and promising role debut in a title role. He convinced with his well-run, dark bass-baritone timbre which will only get more sparkling over time, the champagne aria and his squeaky clean yet mastered serenade also enchanted. Visually and dramatically, he is certainly now an ideal Giovanni.”

  “Auch wenn der ursprünglich in der Titelrolle angesetzte Bo Skovhus absagen musste, hat man an der Staatsoper den blutjungen Adam Plachetka im Ensemble, der übernehmen kann. Zur Premiere noch der Masetto, gab er nun also sein Debüt als Titelheld, und es fiel gelungen und vielversprechend aus. Er überzeugt mit seinem gut geführten, dunkel timbrierten Bassbariton, wird mit der Zeit auch die vertrackte Champagnerarie perlender in die Kehle bekommen und seinem blitzsauber gemeisterten Ständchen noch ein paar Nuancen abgewinnen können. Optisch und darstellerisch ist er jedenfalls jetzt schon ein Ideal-Giovanni.”
  Die Presse, September 2011

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  01 Apr 09 Handel Rinaldo (Argante)
  Prague State Opera

  “Even though Suh’s pure crystalline soprano was ravishing, it was the team of Fajtová and Plachetka that towered over the production’s liabilities…Plachetka burst on the scene with the heroic “Sibilar gli angui d’Aletto,” horns and drums ablaze, followed by the tender “Vieni, o cara, a consolarmi,” expressing his great vocal as well as expressive range. [Plachetka was MusicalAmerica.com’s New Musician of the Month, in February.]

  At 23, his lustrous voice, easily riding Handel’s punishing coloratura, is dark and focused, mature beyond its years. It makes sense that one of Plachetka’s idols, Samuel Ramey, made his Met debut in the very same role.”
  April 09, MusicalAmerica.com, April 2009

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  01 Aug 08 Dvořák Rusalka (Gamekeeper)
  Salzburg Festival

  “luxury casting…One also took note of bass-baritone Adam Plachetka as the Gamekeeper”
  MusicalAmerica.com, August 2008