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Margaret Gawrysiak holds degrees from the Eastman School of Music and Western Illinois University, and is a graduate of San Francisco Opera’s Merola Program, Wolf Trap Opera and the young artist programs of Seattle Opera and The Glimmerglass Festival.

During the 2022-23 season, Ms. Gawrysiak made her Metropolitan Opera debut, covering the role of Auntie in Peter Grimes and singing one performance. Elsewhere, she sings the Marquise de Berkenfield in Minnesota Opera’s production of La fille du régiment, and makes an appearance with Madison Opera for Marcellina in Le nozze di Figaro.


During the 2021-2022 season, Ms. Gawrysiak returned to her home company of Seattle Opera for performances of Marcellina, joined the roster of The Metropolitan Opera for the first time, covering Madame Larina in Eugene Onegin, bowed with the Boise Philharmonic for Lili Boulanger’s Psalm 130 and appeared as a soloist in Madison Opera’s popular annual Opera in the Park concert.

Notable operatic engagements for Margaret Gawrysiak include multiple appearances with Seattle Opera as Marcellina, The Older Woman in Flight, Vera Boronel in The Consul, Madame Larina in Eugene Onegin, and Berta in Il barbiere di Siviglia; the Old Lady in Candide with The Knights at Tanglewood Music Festival and the Ravinia Festival; Mistress Hibbons in The Scarlet Letter (world premiere) and Marcellina with Opera Colorado; Madame Larina with Atlanta Opera; the Mother and the Witch in Hansel & Gretel, Little Buttercup in H.M.S. Pinafore, Public Opinion in Orpheus in the Underworld, and Emma Jones in Street Scene with Virginia Opera; Ruth in The Pirates of Penzance and Marcellina with Lyric Opera of Kansas City; the Marquise in La fille du régiment with Arizona Opera; Mrs. De Rocher in Dead Man Walking with Dayton Opera; Ježibaba in Rusalka with North Carolina Opera; Frugola in Il tabarro with Opera Theatre of Saint Louis; Zia Principessa in Suor Angelica with Crested Butte Music Festival; and Dame Quickly in Falstaff, Baba the Turk and Mother Goose in The Rake’s Progress, Mrs. Lovett in Sweeney Todd, and La Mère d’Antonia in Les contes d’Hoffmann with Wolf Trap Opera.


On the concert stage, she has performed Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra at Tanglewood under Maestro Lorin Maazel and also with the Seattle Symphony, Weill’s Mahagonny Songspiel with the Seattle Symphony, Stravinsky’s Les noces with the New York City Ballet, Dessau’s Haggadah shel Pesach with the American Symphony Orchestra at Carnegie Hall, Mozart’s Requiem and Verdi’s Requiem with the Springfield Symphony, and Prokofiev’s Alexander Nevsky with the Syracuse Symphony Orchestra.


Margaret Gawrysiak was a winner of the Sullivan Foundation Award and received second place in the Lotte Lenya Competition. She has received awards from the Jensen Foundation, Portland Opera’s Lieber Awards, the Gerda Lissner Foundation, and Fort Worth Opera’s McCammon Awards.

Seattle Opera – Il barbiere di Siviglia

"And mezzo-soprano Margaret Gawrysiak, as the servant Berta, shone in her powerhouse aria (“Il vecchiotto”) about the craziness of people in love.”

- Melinda Bargreen, Seattle Times

Orlando Philharmonic – Candide

"Margaret Gawrysiak makes an especially fine bawdy older woman.”

- Matthew Palm, Orlando Sentinel


“Margaret Gawrysiak, as both old lady and the baroness, infused her moments with charming humor.”

- Louis Roney, Winter Park Observer

Fresno Grand Opera – Sweeney Todd

“The supporting cast own their respective roles as well, especially Margaret Gawrysiak as Mrs. Lovett, Todd’s landlady and partner-in-crime. Her mezzo-soprano vocals soar with her every emotion, whether she’s imagining a coastal life of wedded bliss with Sweeney or cooking up plans, literally, to incorporate Todd’s victims into her meat pies.”

- Sarah Peterson, King’s River

Opera Colorado – Scarlet Letter

"the unrestrained taunting of Dimmesdale by the town witch, Mistress Hibbons…served as a fine showpiece for Margaret Gawrysiak, whose angry tirade called up memories of Azucena and Ulrica. The mezzo’s powerful voice contrasted with the more muted singing of Laura Claycomb.”

- Marcy Shulgold, Opera News


“Equally frightening is mezzo-soprano Margaret Gawrysiak as Mistress Hibbons, a witch-like figure whose very reality is in doubt.”

- Kelly Dean Hansen, Daily Camera

Seattle Opera – Le nozze di Figaro

"Margaret Gawrysiak was a ripely colorful Marcellina.”

- Mark Mandel, Opera News

Arizona Opera – Daughter of the Regiment

"The biggest laughs, though, were generated by Gawrysiak, who also is blessed with a strong, attention-grabbing voice. Gawrysiak was plain-out funny in every scene she performed, whether it was fainting at the arrival of French soldiers in Act I or coyly hitting on Sergeant Sulpice.”

- Cathalena E. Burch, Arizona Daily Star


“Donizetti did not often write major roles for lower women’s voices but the comedic Marquise of Berkenfeld is an exception. Mezzo Margret Gawrysiak played her part broadly and showed her true vocal ability in her aria, “Pour une Femme de mon Nom.”

- Maria Nockin, Opera Today

Virginia Opera – HMS Pinafore

"Margaret Gawrysiak, whose versatile mezzo-soprano and splendid acting as Little Buttercup captured the opera’s heart and soul.”

- Grace Jean, The Washington Post

Opera Theater of St. Louis – Il Tabarro

"Rich-voiced mezzo-soprano Margaret Gawrysiak was warm and funny.”

- Sarah Bryan Miller, St Louis Post Dispatch

Wolf Trap Opera – The Rake’s Progress

"Mezzo-soprano Margaret Gawrysiak, as Mother Goose and Baba the Turk, had a hilariously raucous tone and scenery-chewing antics that nearly stole the show.”

- Charles T. Downey, The Washington Post


“In “The Rake’s Progress,” the opera ain’t over ’til the bearded lady sings. That’s Baba the Turk, the needy, demanding, facially hairy circus star Tom marries just to thumb his nose at the world…Margaret Gawrysiak brings a plummy mezzo and abundant comic exuberance to the role, and also taps into character’s warmer side in the last act.”

- Tim Smith, The Baltimore Sun

Virginia Opera – Hansel and Gretel

“At the top of the singers’ pyramid in this production, however, was mezzo Margaret Gawrysiak, cast in the dual roles of the not-so-wicked actual Mom as well as that wicked old witch in the second act. We’ve seen Ms. Gawrysiak in area productions before, including her performance as a convincing Mrs. Lovett in this summer’s Wolf Trap Opera performance of Sweeney Todd. She’s got a powerful voice, great acting chops, and is unafraid of physical comedy as well—all of which are significant assets in this opera. Her performance, particularly as the witch, galvanizes everyone into action in this production, which is an added plus—not to mention that she lends a virtual grand opera presence to the performance.”

- The Washington Times

Wolf Trap Opera – Sweeney Todd

"Margaret Gawrysiak’s Mrs. Lovett particularly shone in this regard. This role of the purveyor of meat pies made from the bodies of Todd’s victims is so often given to non-singing character actresses — Angela Lansbury, Helena Bonham Carter — that it’s a treat to hear it done by a real singer. Gawrysiak — backed by experienced conductor Larry Blank, who offered reasonably efficient leadership of the National Symphony Orchestra on Friday — took her music a bit slower than the ideal and flagged toward the end of the evening’s showpiece, “A Little Priest,” but offered compensation with an amusing performance and a hefty, easy and sweet sound.”

- Anne Midgette, The Washington Post

Castleton Festival – Il Trittico

"When three female relatives surround Schicchi, helping him to prepare to masquerade as the dead uncle so he can forge a new will, the trio was meltingly gorgeous. Margaret Gawrysiak, who was also Frugola in “Tabarro,” showed a powerful voice.”

- Anne Midgette, The Washington Post


“The slightly larger role of the ubiquitous, obnoxious Zita was smartly sung by Margaret Gawrysiak.”

- Terry Ponick, The Washington Times

San Francisco Opera – Merola Grand Finale

"Mezzo-soprano Margaret Gawrysiak blew us away with her glorious rendition of “Da, chas nastal! … Prastitye vi” from Tchaikovsky’s Joan of Arc. Hers is a voice of substance and gravity, with considerable pathos. The fabulous, blazing ending had us all cheering as if our lives depended on it.”

- Jason Victor Serinus, San Francisco Classical Voice

Aspen Opera Theatre – Cendrillon

"The cast delivered a good performance all around, generally well sung and enthusiastically acted. Standouts included mezzo-soprano Margaret Gawrysiak as a domineering stepmother”

- Harvey Steiman, The Aspen Times

Seattle Opera’s Young Artist Program – Gianni Schicchi

"Mezzo-soprano Margaret Gawrysiak created a gem of her role as Zita.”

- Philippa Kiraly, Seattle Post Intelligencer


“Soprano Margaret Gawrysiak acted the scowling, matronly Zita to a tee.”

- Lorin Wilkerson, Northwest Reverb

"He Was Despised"​Margaret Gawrysiak
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"O Thous That Tellest Good Tidings to Zion"​Margaret Gawrysiak
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"Varen flyktar hastigt"​Margaret Gawrysiak
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Worst Pies in London​Margaret Gawrysiak
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Margaret Gawrysiak