Jan Capiński was born in Kraków, Poland, where he began his singing training at the Academy of Music studying with Janusz Borowicz. He received an MA in Opera Performance in 2013, graduating with distinction from the Royal Welsh College of Music and Drama where he studied with Adrian Thompson, supported by the Sir Geraint Evens and Leverhulme Scholarships. He went on to train at the ENO Opera Works programme and currently studies with Gary Coward in London. He is a recipient of the Silver Medal of the Worshipful Company of Musicians, Garsington Opera Simon Sandbach Award, and most recently the ETO Christopher Ball Bursary.
Opera includes Sharpless (Les Heures Musicales d’Aujols), L’Assedio di Calais, Little Ray Dust Child and Major Murgatroyd Patience (English Touring Opera), Moralès Carmen (Mid Wales Opera), Escamillo (St Magnus Festival/Perfect Pitch Opera/Winterbourne Opera), Pluto Orpheus in the Underworld (Scottish Opera/Opera Danube), Eisenstein Die Fledermaus (Opera Up Close) and Count Le Nozze di Figaro and Papageno for Opera’r Ddriag.
In 2015 he performed for Wexford Festival Opera as Sacristan Tosca and L’exempt de guet in Hérold’s Le pré aus clercs. In 2014 he sang Second Prisoner Fidelio for Garsington Festival Opera and Peter Hansel and Gretel at West Green House as part of Garsington’s Young Artist Programme.
Roles at the RWCMD include Smirnov The Bear, Tarquinius The Rape of Lucretia, Count Le Nozze di Figaro and Eisenstein Die Fledermaus.
Concert work includes Bernstein’s Mass (Blues Singer, Street Chorus) at the BBC Proms, Messiah in India with South West Festival Chorus, the baritone solo in Brahms’ Ein Deutsches Requiem in Eynsham, and Lieder eines fahrenden Gessellen in Tewkesbury Abbey.
“All three of the military officers are finely done.” Patience/English Touring Opera, Guardian, March 2017
“The three men, Colonel Calverly (Andrew Slater), Major Murgatroyd (Jan Capinski) and Lieutenant the Duke of Dunstable (Aled Hall) were equally characterful. All three performed with great relish. This was particularly true in the wonderful scene in Act Two when the military men turn aesthetic to attract the women, and Slater, Capinski and Hall made it a moment of high comedy.” Patience/English Touring Opera, Planet Hugill, March 2017
“Jan Capiński – stepping in for a sick colleague as the grumbling Sacristan – also catches the eye and ear.” Tosca/English Touring Opera, Seen and Heard International, March 2017
“The smaller roles were well cast, with (…) Jan Capinski as a notably serious Sacristan.” Tosca/English Touring Opera, Planet Hugill, March 2017
Jan Capinski’s diction was excellent; he was a stentorian Pluto/Aristaeus and a persuasive stage presence.” Orpheus in the Underworld/Opera Danube, Opera Today, February 2016
“Jan Capinski immediately got our attention bringing rare focus to the role of Morales.” Carmen/Mid Wales Opera, walesonline, October 2014
“David Woodward and Jan Capiński sang movingly as First and Second Prisoners.” Fidelio/Garsington Opera, musicOMH, June 2014
“Capinski in particular was impressive because rarely does one encounter a bass voice that combines such power and agility. His rendering of “The trumpet shall sound” reverberated that night, and will surely continue to resound in our memories for a very long time.” Messiah/South West Festival Chorus, The Times of India, March 2014
“In terms of audience reaction, the bass Jan Capinski made quite the impression, with spontaneous applause elicited after the sheer energy of his virtuosic ‘Why do the nations’. ‘Behold, I tell you a mystery’ and ‘The Trumpet shall sound’ also stood out.” Messiah/South West Festival Chorus, The Navhind Times, March 2014
“It is tough following the really high quality casts of this year’s Garsington season. But we saw most creditable showings from a number, notably Jennifer France (Blonde), Alice Rose Privett (Gretel), and the really excellent father of the H and G children, Jan Capiński , each of whom demonstrated mature and, more to the point, “ready to go on if needed” qualities!” Garsington Opera cover showcase)
“Jan Capiński’s Tarquinius had the arrogance and sheer unpleasantness that the role demands and his singing was successfully and purposefully varied in dynamics and colour.” The Rape of Lucretia/RWCMD, Seen and Heard International, March 2013
|Britten||The Rape of Lucretia||Tarquinius|
|Donizetti||L'Assedio di Calais||Armando|
|Gluck||Iphigenie en Tauride||Thoas|
|Janacek||The Cunning Little Vixen||Forester|
|Mozart||Così fan tutte||Guglielmo|
|Mozart||Le Nozze di Figaro||Count Almaviva|
|Offenbach||Orpheus in the Underworld||Pluto|
|Purcell||Dido and Aeneas||Aeneas|
|Strauss (Johann)||Die Fledermaus||Eisenstein/Falke|
|Strauss (Richard)||Ariadne auf Naxos||Harlequin|