“Orpheus in the Underworld” – Selected reviews

 

“Orpheus in the Underworld” – An Opera-bouffe by Jacques Offenbach, stage direction by Maria Sartova at the Opera House in Gdansk, Poland.

 

Gazeta Wyborcza 16.04.2018

 

“A refreshing show at the Gdańsk Opera”

(…) After several years of leave, Orpheus in the Underworld is back and it ranks among Gdańsk Opera ‘s finest productions. The show has all the artistic features one would expect in terms of lively orchestra direction and a stage design that is not without some originality. Without a doubt, the sparkling sense of humour that constantly blends into the stage direction wins over the audience. Definitely a fresh perspective and some sunlight in the dark corridors of the Gdańsk Opera House (…)

(…) The show wins over the audience in more regards than one, with seamless stage direction and excellent choreography. From the libretto, director Maria Sartova has brought out the timeless qualities and the humour of Jacques Offenbach’s opera-bouffe which still has spectators rolling in the aisles. The dance sequences – not least of which the famous cancan – are among the best ever designed by choreographer Jarosław Stańko (…)

Aleksandra Andrearczyk

 

Dziennik Teatralny Trójmiasto 16.04.2018

(…) The opera-bouffe Orpheus in the Underworld has recently been brought back into the repertoire of the Gdansk Opera. It is not only a cheerful and entertaining show, but it takes the audience where nothing is the way it should be, which is precisely why it’s so exhilarating (…)

(…) The stage design is refreshing too. It may seem nondescript at first glance but little by little you realize how astutely it conveys the three settings where the story takes place as it unfolds: down here on earth, in heaven beyond and down in hell. The four tableaux feature distinctive items that draw the spectators’ eyes: in the first one there are red flowers, the second has white cushions, the fourth has leafless trees (…)

(…) Orpheus in the Underworld is set outside reality and yet it conveys a great sense of positive energy and joy. Yes, it is challenging to go back to reality after seeing such an eventful and rich opera-bouffe (…)

Marta Cecielska

 

Press reviews – 16.04.2018

(…) The main quality of Maria Sartova’s direction is the way she brings wit to the fore. Initially an opera singer, she took up the challenge of playng Eurydice in Orpheus in the Underworld. Her innate sense of artistic expression on stage has enabled her to find a common language with the young lead singers. The characters shaped by her direction thus have strong, outgoing personalities (…)

(…) The perfect harmony between Yves Collet’s stage design and Anna Chadaj’s costumes aptly illustrates the pleasant and unusual aspects of reality (…)

(…) Thanks to its lean stage direction, Orpheus in the Underworld at the Gdansk Opera steers clear of all the clichés of timeworn Opera-bouffes. The ancient aspects of hell are thus imbued with modernity. (…)

(…) Orpheus in the Underworld staged by Maria Sartova praises liberty. And the path to liberty is not without obstacles, as Eurydice finds out as the story unfolds. (…)

Jarosław Zalesiński

 

Trójmiasto.pl 18.04.2018 “A back-to-front love story”

(…) Choreographer Jarosław Staniek offers a peculiar dance version which will – inevitably – be acclaimed by some and be a disappointment to others. (…)

(…) In her direction of this opera-bouffe, Mari Sartova proves very bold indeed. She even twists madness in such a way that parody somewhat merges with reality. (…)

Łukasz Rudziński

 

Gdańsk 13.04.2018

(…) Orpheus in the Underworld is a lively show, it provides excellent entertainment on a summer evening. (…)

(…) In her interpretation of the libretto of Orpheus in the Underworld Maria Sartova brings about new notions that are highly modern. The original 19th century text was considered as ribald and even subversive, whereas today it would merely seem spicy. The stage direction is so finespun that even the most risqué scenes are in good taste. (…)

(…) Yves Collet’s deliberately minimalist stage design is spot-on.
Yves Collet is often considered by his peers as a “graphic artist, stage designer and painter of light”. Truth be told, his sets do resemble book illustrations. (…)

(…) The lighting plays an essential role in the final scene which is bolstered by the perfect harmony between the stage design and Anna Chadaj’s costumes. (…)

(…) In a nutshell, Orpheus in the Underworld at the Gdansk Opera is a great accomplishment. The audience laughed in unison at the constant wit on stage and gave the cast a well-deserved ovation. The curtain of the Gdansk Opera is very seldom raised twice in a row at the end of a show. The audience was won over by the superb stage direction. (…)

Anna Umięcka

 

See also:

“Orpheus in the Underworld” – Jacques Offenbach
Interview with Anna Niwińska
Interview with Gabriela Pewińska
Orpheus in the Underworld – photos