Harry Dworchak

For this production's principal singers, Dr. Tang Yuk looked to the national opera scene and the world of Wagner, in particular for the character of Sweeney.  Although one might argue the Sweeney and Wagnerian heroes are not that far apart (and certainly equally complex), bass Harry Dworchak must have found this role a bit of comic relief from his usual worldwide career of singing Wagnerian Ring cycles.  Mr. Dworchak had one of the few voices that could be heard clearly over an orchestra that was as muted as it could be, but was still a bit loud.  As Sweeney, Mr. Dworchak was creepy from the minute he appeared onstage, a man obviously not cut out to be in this world.

Sweeney Todd - Princeton Summer Theater

Harry Dworchak is impressive in the title role, his face a mask of long-held anger, his body poised for violence.  He has the voice to overcome the orchestra at most moments.  Kathryn Cowdrick has some fine moments, principally with Mr. Dworchak in "A Little Priest" and later in a quieter moment with John Easterlin who plays Tobias, in "Not While I'm Around."  Scott Hogsed has perhaps the finest voice in the company and shows it in "Johanna."

Sweeney Todd - Princeton Summer Theater

As the title character who "served a dark and vengeful God," Dworchak, a native of Hershey, Pennsylvania whose impressive credits include roles at the Metropolitan Opera, New York City Opera, and La Scala has turned this demanding role into a bloody occasion.  You won't soon forget this barber's pitiless eye and colorless face as he prepares to give the ultimate shave to his next victim.  Dworchak's robust baritone is most expressively exercised in the creepy ballad, "Pretty Woman."

Sweeney Todd - Princeton Festival at the Kirby Arts Center

Baritone Harry Dworchak's knife-edged instrument and his steadiness on sustained notes made a convincing John the Baptist.

As Jokanaan (Salome), Austin Lyric Opera, 1999

Bass-baritone Harry Dworchak masked Scarpia's sadistic lusts under a stiff veneer of courtliness until the climatic Act Two confrontation, which made for an intriguing portrayal. He sang with textual incisiveness and robust sound.

As Scarpia in Tosca - New York City Opera - September 1994

Harry Dworchak (Alfonso) -- trumpfen auf mit Spielwitz und stimmlicher Konzentration.

As Don Alfunso (Cosi fan tutte) - Bayerisches Staatsoper - 1994

Harry Dworchak, der auch stimmliche die Würde und die Verschlagenheit des Intrigenspinners Don Alfonso verströmte.

As Don Alfunso (Cosi fan tutte) - Bayerisches Staatsoper - 1994

Harry Dworchak...bleid(t) emotional außen vor:  Don Alfonso ein unabälssig an Faden ziehender zynischer Regisseur, Despina eine Zofe, die ihren Damen endlich gerne einmal ein Bein Stellt.

As Don Alfunso (Cosi fan tutte) - Bayerisches Staatsoper - 1994

Another "Tosca" veteran was Harry Dworchak as Scaria, giving his assigned villainies an inriguing ambiguity.  Amid the eerie liturgical tableau at the end of Act I, this Baron fell to his knees not uot of cynicism, but in genuine spritual desperation.  Almost a comic-opera villain on first appearance, he grew more human even as he grew more savage.  Mr. Dworchak's voice is not large, but it is satisfyingly smooth and expressive.

Tosca - New York City Opera

Bravo il baritono Harry Dworchak per la sua drammatica interpretazione del secondo atto.

As Scarpia in Tosca - New York City Opera

As Scarpia, the villain who is sexually aroused by hatred, Harry Dworchak displayed enough presence and voice to powerfully convey Scarpia's mixture of charm and terror.  His highlight was also a highlight of staging: The musically and visually stirring Te Deum scene, when the lustful Scarpia sings in lone counterpoint to a church processional led by the cardinal, "Tosca, you make me forget God."

Tosca - New York City Opera

Harry Dwokchak, the Scarpia, is a veteran of this production, and he wears it like a glove, dominating the stage as much through sheer assurance as through his menacing characterization.  An occasional rough, worn quality in his singing on Friday seemed consistent with his overall depiction of world-weary cynicism.

Tosca - New York City Opera

Stepping in with aplomb, baritone Harry Dowrchak replaced James Johnson in the title role in the Washington Opera's performance of Wagner's "The Flying Dutchman" at the Kennedy Center.  Dworchak's voice was clean and resilient, and he sang with great sensitivity and a natural sense of phrasing.  He lacked overwhelming power but was strong enough to penetrate dense Wagnerian orchestral textures.  Dworchak's actiing skills are mercifully understated, although at times he seemed to freeze in a pose.  At no point, however, did his acting draw attention to itself, and never did it distract from his fine singing.

In the title role of Der Fliegende Hollander, Washington Opera, 1992

Harry Dwokchak's smug, self-confident Scarpia casually played the greedy angles.  His interplay with Soviero made sense and his suave burnished singing helped immensely.

La Traviata - Western Opera Theater

Hervorragend der Ferrando von Harry Dworchak.

As Fernando (Il Trovatore) - Bayerisches Staatsoper - 1994

Dworchak, who has starred in both the Metropolitan and New York City Operas, made his Opera Pacific debut a memorable one.  His character's arrogance, chauvinism and outright dastardly disposition were portrayed to the hilt through his commanding baritone voice and demeanor.

As Scarpia (Tosca) - Orange County Performing Arts Center - 1992

Bass-barintone Harry Dworchak interpreted Scarpia with much finesse.  His appealing voice made this out-and-out villain almost attractive.  With a fine stage presence and deliberate vocal understatement, he portrayed this sadist - who delights in torturing physically and psychologically - as a calculating and smooth operator with an elegant manner.

As Scaria (Tosca) - Opera de Montreal - September 1991

The drama chronicles Boris' rise to the throne his five years' rule, his growing guilt and remorse over the death of the rightful heir to the throne, and the maneuvering by another would-be czar, the "Pretender Dmitri."  Dworchak makes supple use of his dark-hued voice capturing the torment of the czar vocally and dramatically in one of Metro's truly memorable performances.

As Boris in Boris Godunov - Des Moines Metro Opera - July 1990