It has become accepted, you see, thankfully no longer amongst the critics, but amongst people who are 'generally in the know' that Mariusz Treliński is an avante garde artist. I deeply disagree, writes Maciej Wryński.

Excellent scenes, such as the one in which Lisa is on a bridge, hanging somewhere out over the hovering plack bird on in a grey sky and the stage. It is a scene that is at once beautiful and troubling. The character of the Dutchess made completely unfamiliar to us - she looks younger (and we are left in no doubt that this is due to tons of plastic surgery). She is more like a Hollywood diva than a Russian aristrocrat. The Warsaw premier of Chajkowski's Dama Pikowa has entered the pantheon of Mariusz Treliński's other achievements on the opera stage: the question is - is this good or bad? Treliński treated the work as though his main goal was to "do things differently." This has no doubt led to the works' rejuvination and made it more attractive for viewing (if we presume that a different take would have put the audience to sleep). However, this time around, I found in Treliński's work no revolution resulting from this goal. Although, on the other hand, perhaps the visual attracti