Majken Bjerno, performing in her dramatic soprano as Morgan Le Fay, represents an adequate opponent, both in song and play.
Piotr Prochera appears very menacing as her unscrupulous son Mordred, featuring strong baritone and vivid play.
(Albéniz – “Merlin”)
October 2011, Online Musik Magazin

We, the spectators, watched with pleasure, though, all the singing actors (representatively mentioning Petra Schmidt and Piotr Prochera)
who were switching rapidly between Sangraal satire and emotionalism.
(Albéniz – “Merlin”)
October 2011, Der Westen

(…) Morgan, scheming magician (Majken Bjerno, demonically),
and her son Mordred (Piotr Prochera, as impressive as ever)
strive unscrupulously for power.
(Albéniz – “Merlin”)
October 2011, KlassikInfo.de

The splendid, adaptable bass of the young Russian Piotr Prochera, cast as Mordred, is standing out.
(Albéniz – “Merlin”)
October 2011, ioco.de

Mordred (Piotr Prochera, outstanding)
(Albéniz – “Merlin”)
October 2011, Recklinghäuser Zeitung

Piotr Prochera, as Mordred, scores with fresh baritone and intensive play.
(Albéniz – “Merlin”)
October 2011, deropernfreund.de

Majken Bjerno and Piotr Prochera provide great pleasure,
embodying the incestuous mother-son team of Morgan and Mordred with powerful prominence on the stage.
(Albéniz – “Merlin”)
October 2011, Stadtspiegel Gelsenkirchen

(…) They were opposed by the vigorous voices of Piotr Prochera (Donner) and Lars Oliver Rühl (Froh),
who never lacked suspense in their rather unpromising roles and even during their long breaks performed with great prominence. (…)
This Rheingold will be remembered long, due to its musical quality, as Wagner was still sung and not roared.
April 2011, opernnetz.de

Piotr Prochera, in a strong bass voice, embodied Donner with good declamation.
April 2011, ioco.de

He is already neuropathic, hot-tempered, dipsomaniac, uncontrolled. The Polish baritone Piotr Prochera
succeeds in turning the title role into an appealing character study.
(Lortzing – “Zar und Zimmermann”)
March 2011, Ruhrnachrichten

Poof wedding and baloney. At least the latter promise was fulfilled in this staging
which during the premiere in the Great House of the music theatre had been pitilessly jeered at
- thanks to the profound performance of Piotr Prochera’s outstanding baritone,
as Peter I effortlessly performing the conversion from willing, helpful shipyard apprentice to sociopathic overlord.
March 2011, Westdeutsche Allgemeine Zeitung

Piotr Prochera develops the Tsar credibly as a role full of contradictions.
March 2011, lokalkompass.de

Piotr Prochera performs by looks and acting as a very credible Tsar,
plausibly taking also the dark side of this historical character onto the stage.
March 2011, Online Musik Magazin

Piotr Prochera realised the director’s scheme perfectly, and Peter whom he played was anything but a popular figure,
mastering the scene with predatory movements, cynical smiles and attacks of madness.
March 2011, opernnetz.de

Casting and performance meet all demands. (…) The two avenging angels (E. Mark Murphy as Jim, Piotr Prochera as Ron)
pursue their solid craftsmanship with great vocal commitment.
(Antheil – “The Brothers”, cpo-CD 777 545-2)
March 2011, klassik-heute.com

E. Mark Murphy, from Canada, and Piotr Prochera, from Poland, perform as the two comprimarii, Ron and Jim.
Both these roles are cast top-class and adequately.
(Antheil – “The Brothers”, cpo-CD 777 545-2)
March 2011, klavier.de

Piotr Prochera (Inspector) and the Egidius Kwartet integrate with powerful characters.
A great evening.
Henze – “Opfergang” (Immolazione)
December 2010, Westdeutsche Allgemeine Zeitung

(…) Police inspector (strikingly designed by Piotr Prochera)
Henze – “Opfergang” (Immolazione)
December 2010, Recklinghäuser Zeitung

Piotr Prochera who sang the lesser roles, Wagner and Nereo, sounded very well.
October 2010, ioco.de

Solo highlights: The scene in which Faust (bewitchingly beautifully sung by Texan guest tenor Ray M. Wade) and his foolish pupil Wagner
(especially well performed by the Polish baritone Piotr Prochera) first meet Mephistopheles.
September 2010, Ruhrnachrichten

Among the solo parts, most convincing were Petra Schmidt’s moving Margherita, because of her subtle phrasing,
and Piotr Prochera as student Wagner in a wheelchair.
September 2010, Recklinghäuser Zeitung

Convincing in playing and singing their rôles were Piotr Prochera, first as Wagner in a wheelchair, then as Nero in classic Greece,
and Almuth Herbst, as Marta and Pantalis.
September 2010, Online Musik Magazin

Almuth Herbst with her interesting alto and the gentle baritone voice of Piotr Prochera
shaped the rôles of Marta/Pantelis and Wagner/Nereo with significant aplomb.
September 2010, deropernfreund.de

The huge host of soloists was treated by the composer very well balanced, thus losing, unfortunately, in differentiation.
The two baritones, Lee Poulis as youthful lord Mountjoy and Piotr Prochera as brave sir Robert Cecil, may be specifically mentioned (…)
They complete the image of a most turbulent evening, full of colourful costumes.
(Britten – “Gloriana“)
July 2010, Das Opernglas

Piotr Prochera’s baritone vibrates in high pitches lyrically and softly.
(Britten – “Gloriana“)
July 2010, Online Musik Magazin

Piotr Prochera presented himself brilliantly as Sir Robert Cecil,
Secretary of the Royal Council.
June 2010, opernnetz.de

Joachim G. Maaß is a sonorous Mr. Reich while Piotr Prochera (Mr. Fluth) issues his noble baritone evenly and sonorously.
In Prochera the Gelsenkirchen ensemble has found yet another great talent among its personnel.
April 2010, opernnetz.de

(…)as for the cuckolds Fluth and Reich, the MiR has presented again comics of stature,
casting Piotr Prochera and Joachim G. Maass.
April 2010, Recklinghäuser Zeitung

Piotr Prochera, cast as Papageno in dazzlingly yellow renaissance bloomers,
does not just present buffooneries. He is of beautiful appearance, strong character
and very convincing as acting baritone who safely accesses meaty high pitches.
December 2009, Westfälische Rundschau

Piotr Prochera’s Papageno does not only qualify with appealing entertainment
but also with a profound performance as a succinct lyric baritone singer.
December 2009, Recklinghäuser Zeitung

The singing was more than qualified – and a comparable acting was found in
few houses of this scope, first mentioning Piotr Prochera as Papageno
(sometimes with a huge popcorn bag right in the stalls).
December 2009, Sonntagsnachrichten

Piotr Prochera – a “fleshly“ Papageno with an impressively versatile, expressive baritone voice.
December 2009, opernnetz.de

You just have to embosom Piotr Prochera’s Papageno.
December 2009, Westdeutsche Allgemeine Zeitung

Piotr Prochera is a Harlequin who sounds light and agile.
October 2009, online musik magazin

A Parsifal-type tale, improved with immigration stories, being a highly expressive musical theatre
with an impressing Piotr Prochera in the title rôle.
(Žebeljan – “Simon, the Chosen“)
July 2009, freitag.de

Agile Piotr Prochera faced the most rigorous demand,
performing in three rôles with flexible voice and strong expressiveness.
(Meyers, Žebeljan, Leuschner – “Eichbaum Opera”)
July 2009, opernnetz.de

As for baroque singing, the Gelsenkirchen ensemble does not generally perform well.
However, Piotr Prochera knows how to convince with a soft, flexible, and expressive baritone,
as well es Alfia Kamalova as a Belinda of excellent coloratura.
(Purcell – “Dido and Aeneas”)
May 2009, opernnetz.de

Piotr Prochera develops his Aeneas to outstanding shape.
May 2009, Recklinghäuser Zeitung

(…)I liked the sonorous baritone of Piotr Prochera as Aeneas
May 2009, deropernfreund.de

Afterwards, Piotr Prochera dedicated himself to one of the main song composers of German Romanticism: Johannes Brahms.
Highlights were the “Vier ernsten Gesänge” based on biblical texts, performed by Prochera with enormous depth,
despite his young age. He made use of his powerful voice in very versatile and determined ways, achieving a great variety of timbres.
March 2009, Westdeutsche Allgemeine Zeitung

Piotr Prochera (…) gave scope and voice to Brahms’ texts reaching out into the realm of philosophy.
When Prochera sings “Wo ich einst begraben werde, an der Stelle lieb ich Dich” with the music then keeping mute,
the silence generates a tension that you can hear.
March 2009, Stadtspiegel Gelsenkirchen

The minor rôles are already marvellously cast, I emphasise (…) William Saetre and Piotr Prochera
as secret agents Dividendowitsch and Provisionow
(Kálmán – “The Duchess of Chicago”)
February 2009, opernnetz.de

Ned Keene is a storybook Don Juan, performed by the sonorous baritone of Piotr Prochera,
no wonder that the poor whimsical soul of Mrs. Sedley is not only addicted to the pharmacist’s drugs.
January 2009, deropernfreund.de

We may specially mention Piotr Prochera. His Moralès, in leisure suit, Schießer fine-serrate, and Adidas,
in the common room of a police garrison, let us hope for a soon career.
January 2008, operapoint.com

The audience of Jena will yet well remember Piotr Prochera as Figaro.
Now he sang with pretty legato and dramatic expressiveness Posa’s death scene in “Don Carlos”
and Renato’s aria from the opera “Un ballo in maschera”.
Renato’s aria he performed with warm and dark timbre, simple and impressive.
(Italian Opera Night in the Kulturarena)
June 2006, Die Ostthüringer Zeitung

Soloist Sachiko Muta (soprano) enchanted the audience with her lucent voice,
as well as Piotr Prochera (baritone) to whom the audience paid reverence for his performance with a long-lasting applause.
(…)A thankful audience gave standing ovations to the artists
(Italian Opera Night in the Kulturarena)
June 2006, JenaKompakt