Natalia Jarczynska

After a marathon of musical performances, I thought I’d take a breather at the dramatic theatre, hoping for a quiet evening. But lo and behold, I found myself swept away in a whirlwind of emotion and song—who would have thought?

You enter the club, leave your coat, and receive a headset with three simple buttons—on/off, channel, and volume. Excitement builds as you descend the stairs into the play’s venue. Though there are seating options, a huge crowd already stands, each person donning a headset of a different color that signals the channel they're tuned into—be it music or a podcast about slow life.

Monika Radecka just landed on the Wrocław opera scene — and it was a landing. Her debut as Cio-Cio-San in Madame Butterfly at Opera Wrocławska wasn’t just promising — it was powerful.

If you haven’t yet experienced the magic of Natalia Sikora, let me tell you—you’re missing out on something truly extraordinary. This phenomenal artist, who first captured the hearts of Wrocław two decades ago as the youngest winner of the Stage Song Review (Przegląd Piosenki Aktorskiej), has evolved into a fearless and uncompromising force in the music scene.

It wasn’t just a performance. It was a collision of worlds—music, painting, and raw human expression, all unfolding in real-time, feeding off each other, shaping and reshaping before our eyes. Five singers, five musicians, five visual artists. Just the moment. Just art in its purest, most electric form.

Konrad Imiela, Capitol Theatre long-time director and a defining figure of the venue, sat down with me to talk about the magic of theatre, what makes Wrocław’s stage unique, and what shaped his musical opinions.

​​​​​​​It’s not a musical, per se, but music breathes through it, shaping the atmosphere, cutting through the silence, and seeping into every moment like an invisible pulse. And that brings me to the key player: Michał Litwiniec. He’s not just composing the soundscape; he is the soundscape. Positioned within the set, half-seen, half-heard, like some enigmatic figure lurking in the woods, his presence alone could tell the story. Honestly, if it were just him on stage, with nothing but his music, it would still be hauntingly powerful. But don’t get me wrong—the rest of the show is far from secondary.

After 20 years of its Broadway debut, our well-known puppets are back with their signature mix of philosophy, humor, and a quest for purpose. They've aged like fine wine – still hilarious, super smart, and more relatable than ever!

It’s not an easy pill to swallow, but this show dives headfirst into the murky waters of toxic relationships and the addictive cycle of loving your tormentor. Can this make for a compelling musical? They tried to do it in Wroclaw’s Capitol.

Napoli 1841 is a great piece bringing a spirit of Italy, sun, and holidays. There is sea, great choreographies, freshness, and a flow that makes you feel young and full of life. Is a festive and energetic classical version of Bournonville's ballet, one of the most outstanding works of this remarkable choreographer. This ballet is recreated and updated for the Wroclaw Opera Ballet by Danish dancer and choreographer Johan Kobborg.

What did our critic think of THE SNOW QUEEN at Wroclaw Opera?

If you love American musicals, you know Jonathan Larson, you know Rent, and chances are, you’ve been eagerly waiting for this show to hit the stage—months, maybe even years.

One of the most explosive musical sensations has finally landed in Poland, and it’s here to school us all! Six years after its dazzling debut at the Edinburgh Fringe Festival, SIX has arrived, bringing with it six incredible women whose lives were tied together by one infamous husband—Henry VIII.

In this enchanting tale, a grown man finds himself in one predicament after another, navigating dangers involving axes, perilous journeys, and furious trolls. This is a world teeming with wonder and magic—a Scandinavian realm where folklore and fantasy intertwine.

From the stunning set design and exquisite costumes to the powerhouse voices and mind-boggling magic tricks, every detail was outstanding!

What did our critic think of CARMEN at Polish National Opera?

And this one is no exception. If I had to point out any weak spots, well, this review would end right here because, honestly, there aren’t any. Instead, let me take you into the sea of brilliance that director Jacek Mikolajczyk has pulled us into.