"What a wonderful feast of song! Already last year "Musica Viva" presented a concert version of the "Un ballo in maschera" at a supreme level. This year, during the small festival of Verdi in Glocke Grosser Saal, "La forza del destino" was performed. It resembled a real champion's league which any of the opera theatres wouldn't be ashamed of. It was such an amazing evening in the first half dominated for a strong, fascinating soprano voice of Joanna Kozlowska /.../ She performed the aria of Leonora "Pace" with such supernatural and lyrical pianos the people lost their sense of reality and feel that heaven is closer and closer. With her singing she made all the broken hearts cry..."
"And finally Joanna Kozlowska. Here the rule of the contrast can be thrown to rubbish - an excellent performance! The artist can perfectly plan her career, choose the right parts for herself and as a result, her mature beautiful soprano voice doesn't show a sign of tiredness despite the years which have passed since her debut. Giorgetta is lyrical, sensual, in her life wanting only entertainment. She is dramatic in the duet with Luigi and moving in the tragic finale, which proves both the current vocal class and dramatic talent of the artist!"
"The symphony mirrors this with heavily moody vocal solo parts, highlighted by an effortless performance from Polish soprano Joanna Kozlowska."
"Primadonna of an international format who appears on all mattering scenes was Joanna Kozlowska. Her Amelia, with her affection to two men, was radiating energy and her pianos were moving hearts."
"Only a world class vocalist such as Joanna Kozlowska is capable of presenting within a single recital nine different arias from the operas by Mozart, Gounod, Verdi, Cilea and Puccini, complemented with songs by Verdi, Chopin, Glier and Rachmaninoff performed as encores. She has shown sensitivity and musicality, vocal and stage genius, mastery and expressiveness well suited to the performed music - both lyrical and dramatic, grim and joyful. /.../ The few songs in the recital sounded marvelous, including Verdi's truly pearly miniatures ("Il tramonto")..."
"Joanna Kozlowska and Katja Pieweck enchanted the audience with their golden voices. Kozlowska, who has performed on the world's grandest opera stages, is amazing in her spotless piano parts. When singing Lauretta's aria "O mio babbino caro" from Puccini's "Gianni Schicchi" or Leonora's aria "Pace" from Verdi's "Forza del destino," she showed her entire artistry."
"Listening to the brilliant voice of Joanna Kozlowska is always an absolute delight to the ear. This marvelous artist really can sing and also knows very well what she is singing about - no wonder, then, that using the volume of her voice she was able to impart splendor and power of expression on the part of the unhappy Amelia...."
"The premiere of the newest staging of G. Verdi's "Un Ballo in maschera" - which after some forty years returned to the stage of Teatr Wielki - was completely dominated by Joanna Kozlowska who beautifully sang Amelia's part. Without equivocation, this was a performance worthy of the grandest opera stages. Kozlowska fascinated not only with her magnificent tone of voice, ease of articulation and excellent phrasing but also with smooth legato, power of expression and intensity of emotion. Most importantly, all this came together to produce a truly dramatic vocal and acting performance in which every gesture and movement followed the drama. Her Amelia sketched by a subtle line without unnecessary exaggeration attracted everyone's attention from the very first entrance of the artist..."
"The spirit of Antonina Kawecka must have been watching over this performance since "her" role was assigned to Joanna Kozlowska, doubtless the most radiant star of the premiere night. A unique blend of the voice, musicality, acting skills and stage experience - all this allowed Kozlowska's Amelia to attract everybody's attention and pull them into the world of her fervent passions. Moreover, her energy was imparted to other characters, as in the unhappy love duet with Gustavus in Act Two..."
"As opposed to Nucci who can boast twenty-year experience in his part, Joanna Kozlowska and Vincenzo la Scola have developed their parts from scratch. They both have rather lyrical voices, which somehow unites them. This time, however, they differed in their performances. Joanna Kozlowska, with her warm and deeply resounding soprano of wide timbre, was able to perform dramatic passages with ease, which undoubtedly placed her in a better light. Despite the difficulties abounding in this part, Kozlowska's ability of leading her subtle voice wasn't disturbed in e.g. "La Vergine degli angeli" or at the beginning "Pace, pace, mio Dio"..."
"Much praise is deserved by the entire cast, but particularly by the moving Joanna Kozlowska who appeared as Leonora in Zurich. Her vocal skills are perfect and she created her character very well."
"Joanna Kozlowska /Leonora/ expresses Verdi most faithfully, her voice moving with fullness, purity, and hot phrasing. The contrast of her sensitive soprano in the duet with Father Gwardian sounds nice."
"First of all, Joanna Kozlowska with her vibrating and yet exceptionally pure soprano, charming and secretive in tone, performs the glittering role of Leonora."
"This time the selection of the cast was favorable to Pereira. With her warm and lyrical soprano, Joanna Kozlowska boldly overcomes the wide arches of legato in Leonora's part with an unparalleled sensitivity of tone."
"...Perfect as Donna Elvira for a number of years, Joanna Kozlowska has shown her artistry and Mozart's vocal style once again."
"The character of Donna Elwira is difficult to understand. Abandoned by a rascal, the woman chases and persecutes him, willing to take revenge but still desperately in love with him and ready to forgive him any minute, even if this meant that she would be seduced once again by her lover's servant. Joanna Kozlowska was able to give meaning to this character although her costume and hairstyle was more reminiscent of the warm Hermenegilda from the Gilda Sisters /Pulgarcito by Ed. Bruguer/. Her clear voice, great and dramatic vocal show has made her the best female character..."
"... not less praise but, on the contrary, more - should go to the delightful Tatiana by Joanna Kozlowska /.../ Her voice - broad, bright and uniform in every register, her excellent concentration on emission, her ability to shape the tone as needed, her fervent passion - all this makes her unbelievably convincing, both in her girlish joy at the beginning of the opera, in the 'slalom' of emotion during the letter writing scene and in the great final scene."
"Appearing in the Great Theatre in Poznan was very important for the artist: it was the first time that she sang the role of Madame Butterfly in Puccini's opera, namely a dramatic part. It was a success all the way through: her voice, perfectly balanced all across the scale, was glistening with aliquot tones, always tuned to the musical expression: sweet and soft in pianos, powerful and dramatic in fortes. At all times it was clear and audible over the orchestra, perfectly flexible in technical meandering and musical interpretation. Likewise, in her acting Joanna Kozlowska was uninhibited and totally blended with the show which for years has been a major success of the Poznan Opera House. It was a true music-lover's delight. The expectations of the audience were fulfilled completely, as confirmed by intense silence throughout the performance, followed by an explosion of applause at the final bows: a sincere, enthusiastic and long standing ovation!"
"Joanna Kozlowska, faced with the difficult task to replace the favorite Cristina Gallardo-Domâs, made a great Tatiana with perfect vocal maturity. Her technique is truly breathtaking and her emission strong and firm /how wonderful it is to hear in her soprano the full capacity of her voice!/. What is more, her vocal instrument has an excellent Slavic tone quality and is able to effortlessly adapt to the demands of the role. Here, she is really a discovery but in Central Europe she has been praised for years by most demanding audiences for her interpretations of Pamina, Donna Anna, Liza, Alice or Elisabeth..."
"The great duets by Mendelssohn, Schumann, Moniuszko, Rossini, and Offenbach are performed by Joanna Kozlowska, soprano, and the marvelous Ewa Podles with her husband, Jerzy Marchwinski, at the piano. What a trio of great artists! What vocal emotions when Podles oscillates between low bass register and high soprano notes, accompanied by the enchanting voice of Kozlowska! This "hour of the stars" can only be compared to the legendary LP recording of Streich and Forrested released by Etcetera excellent, outstanding, amazing, marvelous!"
"...Both artists are now the best known Polish singers in Europe... Even though it could seem at first that the simple pieces give relatively little place for their excellence to shine through, both artists were able to turn them into true musical jewels. Their perfectly tuned voices and ability to finish off phrases are simply astounding. They prove that romantic nostalgia has a number of shades, ranging from a deep sorrow to bitter irony, as in Brahms' song of the twin sisters. The record contains three encores. Only one of them (i.e. Moniuszko's well-known "Evening song") is kept in the same climate, though, the other two being simply attractive bonuses. Still, listening to Rossini's famous Duet for Two Cats and the classic barcarolle from Offenbach's Tales of Hoffmann is sheer pleasure."
"Polish soprano Joanna Kozlowska revealed a rich, vibrant voice and gave a playful characterization of Alice."
"As Lisa, Joanna Kozlowska exhibited exceptional sensitivity, her youthful, firm, shining tone flavored with a slightly mournful twang that suited the character. Her Act III midnight aria was thrilling."
"Joanna Kozlowska is the most outstanding vocal talent that has appeared in Poland in the last decades..."
"The gallery of female characters has its climax in the figure of Joanna Kozlowska, the Polish soprano who creates Dona Elvira with a magnificent voice capable of expressing all the wealth of this dramatically complex character..."
"She gave "Madame Butterfly" the dimension of a psychological drama almost reminiscent of Strindberg ... It was a monodrama of a great artist."
"...extraordinary Joanna Kozlowska who paints a delightful picture of bright and seductive Marcelina..."
"The dominant features of Tatiana by Joanna Kozlowska are her girlish simplicity and sensitive spirituality. Lyrical tones perfectly correspond to her beautiful clear soprano."
"...with the exception of Joanna Kozlowska as Miceala /.../ The queen of the night..."
"During the revival of 'Turandot' the best musical moments could be heard in Joanna Kozlowska's singing as Liu. This theatre has not heard such a tuned and charming performance of the slave's death for many years. And it was not the princess but the slave that was the heroine of the night. The audience appreciated and rewarded her outstanding voice with a great ovation."
"Joanna Kozlowska as the countess is as good as good can be and her wonderfully lyrical soprano has an admirable clarity. The singer expresses all Mozart wrote in this part."
"Her Mimi is not a graceful embroideress with a child's mind but a poor laborer with an open mind and a warm heart. Joanna Kozlowska briskly reacts to her partners with mime and gestures and trembling emotions that penetrate the heart. The clarity of her faultless, youthful and dramatic soprano as well as musical intelligence of the performance is also very impressive."
"The brightest star among the vocalists was Joanna Kozlowska who expressed the whole wealth of nuances of Alice Ford's role with her shiny, flexible and colorful soprano."
"A character no one can match." /La Finta giardiniera/
" Joanna Kozlowska as Ilia is a soprano with Mozart's genuine sensitivity. You can observe her concern about the beauty of the tone, flawless leading of the voice and fervor of expression. "
"Marquise Violante is created by a perfect and sensitive Polish soprano - Joanna Kozlowska - who had sang this part in La Monnaie /.../ Her artistic sense works miracles."
"As regards Marcelina by Joanna Kozlowska and her beautiful voice across the whole scale - she alone makes the play worth seeing. "
"You cannot overemphasize the quality of the cast without whom an evening like that would never have gone beyond the footlights The cast is dominated by Joanna Kozlowska, a singer with a Slavic soul capable of portraying Tatiana's inner suffering with such a sincerity and conviction that it inevitably evokes enthusiasm."
"There is also a new Liu in Joanna Kozlowska, making a very promising house debut. She manages to make even the most exposed and fragile passages wholly natural, with no break in her phrasing or faltering of her beautifully produced fresh tone: she is, very aptly, like a spring of clear water in so much article and ceremony. She does exceedingly well in this role to avoid pathos so totally. "
"...and Tatyana to Joanna Kozlowska, the young polish soprano, who portrays Tchaikowski's vulnerable heroine with all the passion and sweetness at her command, in tones which are full and true."