OPERA

“Ola Rafało proved to be a mezzo to watch, with a strong Stride la Vampa” said Anne Midgette, for the Washington Post, when Ola was featured as Azucena and Amneris, in scenes at Kennedy Center. Ola has enjoyed a fruitful career as a dramatic mezzo, having performed most of Verdi's iconic operas. She started with Fenena in Nabucco (Baltimore Lyric Opera, Opera Carolina), “Rafało produced the best singing of the evening, in spite of her role being smaller. "– L. Gazzola for Opera Lively. Ola continued that trajectory as Azucena in Il Trovatore with Opera Forza, and Maddalena in Rigoletto with Gulfshore Opera, as well as The Verdi Requiem with Gulfshore Opera, under Maestro Paul Nadler, and Ulrica in Un Ballo in Maschera with Opera Project Columbus. Notable Opera debuts include Brangaene in Wagner's Tristan und Isolde with the Eugene Symphony, Charlotte in Werther with Martha Cardona Opera, at the Kauffman Center, and Santuzza in Cavalleria Rusticana (Opera Angelo),  the Old Gypsy in Rachmaninov's Aleko  (Chicago Opera Theatre) , The Mother, Chinese tea cup, shepherd, and dragonfly, in Ravel's L'enfant et les sortileges (Florentine Opera) , La Frugola in Il Tabarro (Opera Festival of Chicago). Ola covered the role of Hortense in Missy Mazzolli’s “The Listeners” at Lyric Opera of Chicago, and sang the role of Zia Principessa in Suor Angelica with Sotto Voce Ensemble in New York. Ola was honored to receive a UNESCO award for her performance as Alkmene in the Olympic Torch, by P. Karousos. She also created the role of Diskana in a new opera "Second Sight", by Jessie Downs, with Nickel City Opera and the Sotto Voce ensemble.

Ola started her mezzo career in the title role of La Tragedie de Carmen with Syracuse Opera, making a big splash in “Opera Today” and leading to subsequent performances of the Bizet versions (Gulfshore Opera, New Jersey Verismo Opera, Pacific Symphony (highlights). In preparation for the role, Ola studied flamenco dance and castanette playing with world renowned flamenco dancer and choreographer Rosa Mercedes. Carmen continues to be a signature role for Ola.

CONCERT

Ola's voice soars in chamber music and concert repertoire. Her performances include Carnegie Hall as the Alto soloist in Vivaldi’s Gloria, as well as De Falla’s El Amor Brujo with the Pacific Symphony, and Beethoven's 9th with the Evanston Symphony. he Brahms two songs for voice and viola, as well as excerpts from Bach St. Matthew Passion, and Mahler songs, with the Lakeside Artists Guild. She returned to Eugene Symphony for the Alto soloist in Mahler's Second, "The resurrection" symphony. She was honored to perform the alto role in the American premier of Poniatowski’s Mass, with the Paderewski Symphony, an important work of Polish history. Ola has been a guest recitalist for the Wagner society of America.  Other exciting projects for the season include the launch of her group: trio Cantabile, performing great chamber music works for voice, violin/viola, and piano. They will be touring throughout the midwest this spring with a passionate program of Brahms, Rachmaninov, Chopin, Donizetti, and more.

THIS SEASON and beyond

Ola will reprise the role of Ulrica in Un Ballo in Maschera, with Winter Opera St.Louis , perform the alto soloist in Haendel’s Messiah with the Iliana Oratorio Society, and sing the alto soloist in Pergolesi’s Stabat Mater with Cantante Domino chorus and orchestra at St.John Cantius in Chicago. This season Ola is honored to make her home in the Lyric Opera of Chicago chorus ensemble. Next season Ola will tour a project she created entitled: "Viva Verdi", a multi-media presentation about the life and contribution of Giuseppe Verdi. It is a lecture, punctuated by important musical moments of his masterworks, sung by a quartet of soloists and piano. Ola passionately continues to teach as schedule permits. She is part of the faculty at Lakeside Artists Academy in Northwest Indiana. This season she is available for private lessons, as well as leading a monthly vocalist workshop for teens. See the music lessons page for more info!

AWARDS and BACKROUND

Rafało carries dual passports for the U.S. and Poland, and speaks fluent English, Italian, and Polish. She is a natural interpreter of slavic repertoire, in roles such as Olga in Eugene Onegin, Konchakovna in Prince Igor, Pollina in Queen of Spades, Marfa in Khovanschina, and Jadwiga in Straszny Dwor. Starting from the age of 3, Ola studied Polish folk dancing and singing, creating a musical template from which to interpret all the slavic music with roots in the tradition of folk music. Ola is proud to continue the celebration of her Polish culture in the Chicagoland area, performing with groups such as the Lira Ensemble, the Paderewski Symphony, and solo recitals for Polish cultural organizations.

Ola is the recipient of a grant from the Olga Forrai foundation for dramatic voices. Ola was honored to receive the Maria Callas Prize in 2019, at the 2nd annual Giulio Fregosi Concorso di Lirica in Voghera, as well as the Kitakiushu prize, and the Premio di Teatro Bibiena. She is the 2nd prize winner of the 2017 Altamura-Caruso competition. In 2015 she won Fourth Prize and the Audience choice award from the Young Patronesses of Opera Competition. She has been awarded the Giulietta Simionato career grant from the Inter-city Arts foundation. In 2009, she was awarded the audience prize at the Metropolitan Opera National Council Auditions, Southeast chapter. In 2008, she was awarded Grand Prize of the Elgin Opera competition and First Prize of the Sherrill Milnes Opera Idol competition. Miss Rafało was an apprentice artist at Sarasota Opera, where she received the Leo M.Rogers award, as well as a young artist at Opera Tampa, and Palm Beach Opera.