Ballet

Requiem

W.A. Mozart

Jacek Tyski
Marc Moncusi

1 hours 0 minutes

Details Tickets

Available dates

Date

Hour

Place

Informations

Tickets

21 March 17:00, Sunday

21 March, Sunday

17:00

Main Stage

buy a ticket 21 March, Sunday, 17:00, Requiem

23 March 18:30, Tuesday

23 March, Tuesday

18:30

Main Stage

buy a ticket 23 March, Tuesday, 18:30, Requiem

24 March 18:30, Wednesday

24 March, Wednesday

18:30

Main Stage

buy a ticket 24 March, Wednesday, 18:30, Requiem

details

information

duration

1 hours 0 minutes

composer

W.A. Mozart

premiere

28.02.2026

what can you expect during the performence?

stage effects such as smoke and flashes

description

A ballet premiere directed and choreographed by Jacek Tyski to the music of W. A. Mozart. The Requiem in D minor is one of Mozart’s greatest sacred works and, at the same time, his last, unfinished composition. The score was completed by the composer’s friend Joseph Eybler and his student Franz Xaver Süssmayr. The work is deeply rooted in Christian tradition and will be presented using the language of dance.

This exceptional ballet performance, accompanied by a stirring performance by the Soloists and the Krakow Opera Choir, will serve as a prelude to thoughts on life and death, and the story told through dance and music will lead us into a state of contemplation and reflection.

Poster

poster by

Veronika Korol

producers and cast

producers

Music Director | Marc Moncusi

Director and Choreographer | Jacek Tyski

Scenography | Stefania Chiarelli

Costume Designer | Marta Koncewoj

Lighting Designer | Paweł Murlik

Projection | Piotr Bednarczyk

Choreographer Assistant | Gabriela Kubacka, Rafael Rivero Hervis, Alesia Smyrnova

Choir Preparation | Andrzej Korzeniowski, Joanna Wójtowicz

Stage Manager | Mateusz Makselon, Justyna Jarocka-Lejzak

cast

soloists:
SOPRANO | Zuzanna Caban
ALT | Monika Korybalska (29, 31.10), Ewa Menaszek (30.10)
TENOR | Jarosław Bielecki (29, 31.10), Aleksander Kunach (30.10)
BAS | Sebastian Marszałowicz (29, 31.10), Adam Zaremba (30.10)

Krakow Opera Ballet Company

solo parts
Mailka Tokkozhina, Iyo Hataishi, Mariana Morfin-Sanchez, Mizuki Kurosawa, Sofia Manca

Javier Arés Cabeza, Yauheni Raukuts, Gabriele Togni, Matheus Tertuliano, Andrea Zulian

corps de ballet
Alyssa Casey, Agnieszka Chlebowska, Airi Fatjo, Nathalie Faxe (resident), Clara Grima, Iyo Hataishi, Amelia Kalbarczyk (resident), Bożena Kowalska, Anastasiya Krasouskaya, Mizuki Kurosawa, Sofia Manca, Mariana Morfin-Sanchez, Ako Ohmiya (resident), Agata Steinke-Wojtala, Malika Tokkozhina, Weronika Wilczyńska, Teresa Żurowska

Javier Arés Cabeza, Edoardo Malabaila, Filippo Penco, Maciej Pluskowski, Matheus Tertuliano, Gabriele Togni, Flavio Valentino, Fabian von Lindern, Yauheni Yatskevich, Andrea Zulian

Choir and Orchestra of the Krakow Opera
CONDUCTOR | Zbigniew Graca

ticket

Category P - 2026/2027

seats I Marshal's box

210 zł

seats II Amphitheatre, rows IV–IX

180 zł

seats III Amphitheatre, rows I-III and X-XII

160 zł

seats IV Amphitheatre: side seats and rows XIII–XIV; right and left side boxes

130 zł

seats V Balcony, rows I–II

110 zł

seats VI Balcony, rows III–IV

100 zł

In this category:
New Year's concert 2027, Aida, Bona Sforza, Carmen, Carmina Burana, La Bohème, The Barber of Seville, Don Pasquale, Faust, Copernicus, Madama Butterfly, Nabucco, Requiem, Tosca, The Marriage of Figaro, Wiener Blut, The Bat

reviews

Kulturalny konfernasjer, 1.03.2026

It is also good to break out of the patterns of thinking about funeral and sacred music, as the one which cannot be combined with dance. Because how is that possible – a requiem mass and a ballet? Will people dance to liturgical texts? I saw a beautiful, less than an hour show with incredible power of music and captivating choreography. (...) During the performance, thanks to its form, I managed to break away from the intrusive need for analysis and taking notes and immerse myself, absorb this incredibility created there by the sound of the orchestra, the singing of the choir and soloists, the beautiful visual design of the set, projections and costume, and the movement - uplifting, captivating, mystical. Mozart’s music was not just stomped out, the prayerful atmosphere of the work was not turned into a light-hearted dance and no mockery was made of the mourning. In my opinion […] everything sounded as it should and the whole opera team and the creative team deserve a standing ovation! I highly recommend this event to you - I am still shocked that so many emotions were included and so much reflection was evoked!

full review

Agnieszka Malatyńska-Stankiewicz, Radio Kraków Kultura, 1.03.2026

The mere combination of the music and dance worlds on a single stage was a challenge. Particularly for the singers: the choir and the soloists: Zuzanna Caban - soprano, Monika Korybalska – alto, Jarosław Bielecki – tenor, Sebastian Marszałowicz – bass. If only because the tempos were sometimes slightly different, prepared “for the dancers”, and besides, vocal and dance worlds intermingled on the stage, and singing was not easy in such conditions. Singing in motion, in reactions with the dancers, in the sounds of ballet steps, in permanent control of space, is a novelty even for opera singers. But the results turned out to be excellent. Everything “came” together perfectly to create a coherent performance. (...)

From the dance point of view, I was very emotional about the duo in Lacrimosa (dancers: Malika Tokkozhina and Yauheni Raukuts) and the finale, when in the pause before the last chords one could hear the dancers’ accelerated breaths. I do not know if it was the intended effect, but for me it has become very symbolic: we will not escape our destiny. I also greatly enjoyed the dance rendering of Mozart fugues, when each entry of another voice in the choir and orchestra has been combined with the entry of another four dancers. Polyphony presented through movement perfectly reflects the composer’s assumptions.

full review

Andrzej Czapliński, 28.02.2026

We watched a perfectly danced and sung performance, the music we know gained a new beautiful dimension, a new power, the dimension and power of the dance refined in every detail. And, as Director Piotr Sułkowski said, this performance is a prelude to reflection on life and death, and the story told through dance and music has moved us into a state of contemplation and reflection. I highly recommend it!

full review

Piotr Gaszczyński, Teatr dla wszystkich, 2.03.2026

While the choir could be placed in the sphere of the sacred, ballet is purely in the sphere of the profane. Dynamic groups of men and women, often clearly separated from each other as if to stress the constant battle of the feminine and masculine elements, dance as if there were no tomorrow. They form spinning circles like in Dante’s "Purgatory". They also have uniform costumes but this time much more saturated with blue, probably because they are here and now – more mundane, corporeal, in contrast to the ephemeral choir from the borderlands of worlds.

The climax of the dance part of the performance is “Lacrimosa”, where we can observe a pair of dancers in a virtually permanent embrace, understood both as a painful farewell and an ecstatic connection of bodies. It is a very beautiful fragment of the performance, where Eros and Thanatos dance arm-in-arm to the rhythm of Mozart’s Requiem Mass.

full review