On 30th September our theatre hosted the premiere of Jacques Offenbach's Orpheus in the Underworld, directed by Włodzimierz Nurkowski. The performance, originally planned for March last year, and postponed several times due to the pandemic, faced a happy ending.

We finally succeeded, and on 30th September we were able to watch the long-awaited show. The joy was all the greater because this charming operetta was staged in Kraków for the first time. Generally, it can be said that the Kraków production by Włodzimierz Nurkowski, which refers to a modern theatrical form, leaves positive impressions. Despite the fact that the performance has a fast pace of action, the right dynamics of group scenes and quite clearly delineated characters and situations, it does not lack good quality wit or humour.
 
Adam Czopek, Maestro portal (read more)
 
Yesterday's premiere showed that the operetta in Kraków is doing rather well. It would not be possible if it were not for the three basic elements, the actual pillars of the performance: the flawless stage design and phenomenal costumes by Anna Sekuła (a great tribute to the wide range of ideas), expressive and witty choreography by Viola Suska (big applause for the dance arrangements full of verve, humour and precision) as well as direction by Włodzimierz Nurkowski who tamed the somewhat unruly libretto by giving it a simple, logical structure, and delineated the characters with a great zest. Małgorzata Zwolińska incorporated great, original multimedia projections into the stage design, which perfectly complemented the stage action - commenting on it or summarising individual scenes. The visual aspect of the performance is perfectly combined with the situational comedy, which subtly targets human weaknesses, regardless of the epoch. All the more, it is worth emphasising the consistent coherence of the stage design, costumes and choreography.
 
Anna Graniczewska, naScenie.info portal (read more)
 
I liked the actors playing characteristic roles the most. Adam Sobierajski as demonic Pluto was distinguished by authentic stage nerve, while Łukasz Gaj perfectly adjusted his voice, showing considerable lightness in the high-pitched sounds, and during the dramatic confrontation with Jupiter on Olympus he challenged him to a duel for c². On the other hand, Michał Kutnik, distinguished by fiery temperament, gave the apparition of John Styx a lot of dynamics, which seems exaggerated at times. [...] Agnieszka Kuk successfully coloured Diana’s part with embellishments. Paula Maciołek and Zuzanna Caban (Cupid), Joanna Wójcik (Diana) as well as Monika Korybalska and Ewa Menaszek (Venus) successfully marked their presence in the relatively smaller roles, which does not mean that they were treated preferentially by the composer. Adrian Domarecki's performance as Mercury turned out to be very promising, with a light, flexible tenor that goes against the nature of the “Eh hop! Eh hop” rondo, which also uses choreographic means to bring out the dynamism of the characters. The entirety had a pulse typical of Offenbach, especially in the group scenes kept in marching rhythms.
 
Lesław Czapliński, Maestro portal (read more)
 

During the premiere performance, we heard soloists: Dominik Sutowicz (Orpheus), Katarzyna Oleś-Blacha (Eurydice), Adam Sobierajski (Aristaeus-Pluto), Przemysław Rezner (Jupiter), Anna Lubańska (Public Opinion), Michał Kutnik (John Styx), Paula Maciołek (Cupid), Adrian Domarecki (Mercury), Agnieszka Kuk (Diana), Karin Wiktor-Kałucka (Juno), Magdalena Barylak (Minerva) and Sebastian Marszałowicz (Mars).
 
The following persons performed on 1st October: Jarosław Bielecki (Orpheus), Marcelina Beucher (Eurydice), Łukasz Gaj (Aristaeus-Pluto), Grzegorz Szostak (Jupiter), Elwira Janasik (Public Opinion), Janusz Ratajczak (John Styx), Zuzanna Caban (Cupid), Łukasz Ratajczak (Mercury), Joanna Wójcik (Diana), Karin Wiktor-Kałucka (Juno), Ewa Menaszek (Venus), Magdalena Barylak (Minerva) and Jacek Ozimkowski (Mars).
 
The musical direction of the performance was taken over by Tomasz Tokarczyk. The stage design and costumes were prepared by Anna Sekuła, and the choreography by Violetta Suska. Jacek Mentel, Janusz Wierzgacz and Joanna Wójtowicz were responsible for the preparation of the choir. Małgorzata Zwolińska was responsible for multimedia projections, and Bogumił Palewicz – for the light design.