Polish 

Ewa Demarczyk is vocalist who has a style of her own.
SVENSKA DAGBLADET
1965


"One of the best voices at the Festival"
Ewa Demarczyk sings with great expression - she has a total command of her incredible voice and great ease of interpretation.
GIRÓN   Varadero, Cuba
1967


Her voice, tender and proud, of the bedchamber and the barricade...
LE MONDE
1969


"Ewa Demarczyk; a revelation."
This Polish singer was a revelation, a discovery for the Genevese audience.
... her voice is so beatiful !
... not knowing the Polish language dose not decrease the pleasure of listening to such an artist.
LA TRIBUNE DE GENEVE
1970


Ewa Demarczyk is not only a voice. She is a presence. A hard one. And sweetness fits her the better because it is surprising.
JOURNAL DE GENEVE
1970


... a wnoderful and most gifted actress with an enormous dramatic and emotional potency.
... her career was entirely suepeising in the history of the stage. She is the greatest sensation in the history of the Polish spectacle. She is uncomparable. She has been called the "Black Angel of the Polish Song".
LA COOPERATEUR
1970


Even not understanding a word of Polish..., one may quickly - a moment after her appearance on the stage - understand.
... The voice ... wonderful and rich in uncountable possibilities.
... she does not play but experiences, feels and draws others into the thrilling experience.
LE COURRIER
1970


She extraordinarily modulates her voice and deeply feels each song, giving its content the most complete dramatic expression.
LA DERNIER HEURE
1970


What class ! What talent and fieriness !
It is not possible to identify her with one particular genre of style.
When shall we see this sensational artist again ?
LA SUISSE
1970


... nowadays belongs to the most fascinating phenomena on international stage.
DER TAGESSPIGEL
1973


Her scale of artistic expression ranges from refined subtlety to violent, untamed explosions of passion, from modest rericence to exciting sensuality.
... Every composition becomes a tale, a story, a small drama in its unity of lyrics with the music, in the sparse gesture.
SCHERINER VOLKSZEITUNG
1974


Ewa Demarczyk's attitude to the poems she sings is not to subordinate them but to achive unity, to collaborate. To be more precise - she know when to give in completely to the melody of the poem, its intonation, tune to its emotional wavelenght.
... Ewa Demarczyk understands deeply and very precisely the meaning and individuality og the poets whose poems she sings, she also possess such talent and mastery enabling her to pass over to her audience that understanding of hers. She sings the poems of great poets and becomes not a nice, docile pupil but a co-author, creative interpreter.
MOSKOWSKIJ KOMSOMOLJEC
1978


This is theatre. A one-singer Theatre. One singer. The theatre of internal power, combined with unique asceticism of theatrical means. There are no poses, gestures or smiles. There is only the singer, her eyes and her songs.
The lyrics are of no less importance in Ewa Demarczyk's songs than the music, irrespective of the language - Polish, Russian or Spanish; for the listener of any nationality they are full of singular meaning. Ewa Demarczyk sings the language of the heart, and that is why the lyrics are understood by everybody who has got a heart ...
Ewa Demarczyk dose not turn to the public in general. She gets to each one of us. Her impetuous internal power - together with an inexorable, almost immobile face - strikes the hearts of her audience directly.
... Ewa Demarczyk's songs are full of a proud, invincible spirit of her ancestors, of a rythmic pulse of the Polish blood.
Once, only once during the whole concert, the singer allows herself to smile on the stage; she does not leave the flowers thrown at her feet lying on the floor, but neither does she wave them at the audience. Naturally, there are no encores - in the theatre even the best monologues are not repeated.
SMJENA
1978


It is not the words which are the most significant in her performance, in spite of the face that she sings poetry, but the atmosphere created by her specific style; extremely theatrical performance, the timbre of her voice and power of interpretation. Sametime you do not understand the lyrics, sametimes she even makes you feel embarrassed; however, once you begin to feel Ewa Demarczyk's music and spirit, you are totally entranced by her. Therefore, it isnot true to say that this Polish singer is for Poles only.
HAARETZ
1986


It is difficult to compare her with anybody whom we have known in the realm of song.
Ewa Demarczyk is a great dramatic songstress, who startles and bewilders the audience with her verstility.
DAVAR
1986


... this heartbreaking, keavenly voice, the voice that you can only hear in a dream has suddenly come. The voice from the another world, as someone has described it. I do not know the language or the words, yet the meaning they conveyed was all the greater, all the more picturesque, darker and more heavenlly at the same time.
The Eva that has not been here since the times of Adam and Eve.
But once on stage, she makes the universe explode as she calls out to the elements of nature. She sings a vibrato which wrings one's heart, breaks it, and finally comes like a balm to it. She makes a whole of her performance - with no intermission.
LA PRESSE
1987


Ewa Demarczyk is one of the few international popular singers with the vocal resources theatrical command and musical discrimination to transcend, at least partially, the language barrier, ...
... the singer expressed emotion with her face and her remarkable voie, which vacillated between an intense, meditative hum and vibrant, harsh declamation. The emotional likewise renged from accusatory sarcasm and tender sorrow, with each shading precisely distilled.
THE NEW YORK TIMES
1987


Demarczyk mesmerizes her audience. Solety through her remarkable, haunting voice and the expressiveness of her burning eyes, she managers to cover the complete emotional landscape with sudden leaps from a profound melancholy to explosive passion.
... Demarczyk's dramatic skills easily transcend any language barrier.
READER'S GUIDE
1987


Virtally unknown in this country, she turned her Los Angeles debut Saturday night at the Variety Center into a triumphant rebuttal to the insulting image of Poles as a nationality of incompetents.
... Demarczyk offered a performance whose fiery passion transcended language, style and nationality.
LOS ANGELES TIMES
1987


Demarczyk's artistry has been termed a revelation. It is. Her amazing voice, firece conviction and passionate intensity make it unnecessary to know the words of her Polish, French and Spanish songs.
Her stong face is sad; often it takes on the look of a child fighting back tears. When she smiles, seldom, it is a token, a benison.
DRAMA - LOGUE
1987


... she is a remarkable artiste and there is no one like her in the English speaking world.
... she was singing to individuals.
... these are songs which shake the hell out of you, whether you understand the words or not.
THE INDEPENDENT
1987


The Queen Elizabeth Hall was packed to the roof for the unique concert performance by the Polish diseuse Ewa Demarczyk, making her London debut ...
Diseuse and songs sound like a contradiction in terms, but Ewa dose blend the two categories, even turning her declamatory manner into music.
... her British debut must be judged a triumph.
THE STAGE
1987


IT was interesting to sample the Darling Harbour Convention Centre as a concert venue last weekend when the Polish singer, Ewa Demarczyk, gave the first musical performance within in still-unfinished walls.
She is a performer with forceful theatrical power and a voice that ranges from an intimate whisper to a fortissimo roar of passionate intensity. No matter if you didn't understand the language, it was a gripping recital with unusual musicality in the backing group of two pianos, two violins, cello, bass, guitar and percussion.
Of course, it was all delivered through amplification, but tests are going to be carried out on the natural acoustics of the venue, which holds up to 3,500 people. If they prove to be good, Sydney might have a more aesthetically appealing alternative to the Entertainment Centre for some of its big musical attractions.
SUN HERALD
1989