La finta semplice

“Mozart with breakdance and Bastarda — two faces of La finta semplice” – Teatr dla Wszystkich (Wiesław Kowalski)
The reviewer highlights the maturity and theatrical potential uncovered in Mozart’s youthful work. Modern choreography by Wioleta Fiuk, the inclusion of street dance, and the original soundscape by Trio Bastarda give the opera a fresh context.

“Not such a naive opera” – Presto (Ewelina Czarnowska)
The performance was neither a typical educational opera nor a classical buffa, but a bold, contemporary theatre piece. Vocal performance and Aleksandra Reda’s set design, blending 18th-century aesthetics with psychedelic colors, were especially praised.

“Mozart at Warsaw Autumn” – Maestro (Joanna Tumiłowicz)
The review emphasizes the “autumnal,” modern atmosphere of the production, full of contrasts and experimentation. Tomasz Pokrzywiński’s daring arrangements and the inclusion of breakdancers introduced a sense of joyful chaos.

“La finta semplice at Basen Artystyczny” – Segregator Aliny (Alina Ert-Eberdt)
The production perfectly matched WOK’s profile, combining early music with jazz and the Mozart Junior program. Young singers and acrobats, colorful costumes, and lively staging entertained adults and inspired youth alike.

“How young Mozart rocked a jazz club” – Orfeo (Tomasz Pasternak)
Trio Bastarda and guest musicians transported Mozart into the world of jazz, blues, and rock riffs without losing the spirit of the original. The vocal cast, choreography, and Jitka Stokalska’s theatrical imagination were highly praised. The performance was described as a “joy of playing and singing — just as Mozart knew it in his childhood.”