Metaopera: Faust at the Cracow Opera

Faust, Charles Gounod

Cracow Opera, Poland

17.10.27

Cast:  Wołodymyr Pańkiw, Marcelina Román, Ewa Menaszek, Szymon Rona, Adam Zdunikowski, Stanisław Kuflyuk.

Metaopera: Play within the play: Faust at the Cracow Opera

The 2026/27 season at the Cracow Opera opened with a new production of Charles Gounod’s Faust. This is an almost archetypal story that explores the limits of human knowledge, weakness and love. This time, it was performed in a dazzling new interpretation by Michał Znaniecki, who was both the director and set designer. The result was a coherent and appealing production. Znaniecki’s ‘Faust’ opens with a reflective scene in which a theatre director desperately tries to breathe new life into Johann Wolfgang von Goethe’s text.

Moments later, the same person becomes the old Faust and the opera begins. This production employed the well-known trick of placing a theatre within a theatre. Although this is not a novel approach, it was highly effective here. It allowed the audience to experience the tension between the layers of created reality. This idea was further emphasised by an oval gold frame which acted as a barrier between Mephistopheles’ world and the other characters. However, it could have been more effective in a different theatre with a different audience layout. Due to the frame, at least half of the audience could barely see a third of the extraordinary stage design. Michał Zaniecki created quite the spectacle.

Using the same foundation for every scene, he nevertheless managed to change the whole mood of the show simply by using selected decorations and incredibly well-timed atmospheric lighting by Dawid Karolak. The costumes, designed by Małgorzata Słoniowska, also contributed to the performance’s harmonious artistic design. They added another dimension to the show’s interpretation.

Marguerite alone underwent numerous costume changes that underpinned the mood and drew the audience’s attention to particular moments in the opera. Of course, she was not the only one. The costumes were well thought through in every detail. Each character, including the choir and the dancers had an intricately designed look. The entire production relied heavily on artistic design, creating a fully immersive theatrical experience. Through the costumes, design, and direction of their movements, the entire cast appeared completely immersed in this elaborate stage world.

Wołodymyr Pańkiw’s portrayal of Mephistopheles drove the plot of the show. He moved in and out of the frame, overlooking the opera’s action without ever fully stepping into it. With his dynamic arias and phrases, he became the heart of the performance. Szymon Rona portrayed the young Faust alongside him. His character switched between the two worlds, fully engaging with the characters of both realities. He also impressed the audience with his vocals. Although he struggled slightly in the first half of the show, his voice shone later on. However, the most vocally stunning performance was that of Marcelina Román. Her interpretation of Marguerite was incredibly fresh, showcasing secure high notes and a rare ability to interweave lyrical and dramatic moments. This was especially evident in

Her third act aria”Dieu ! Que de bijoux”. Her talent made the evening a remarkable experience, and her stage presence was rewarded with a long ovation. Another noteworthy performance was given by Ewa Menaszek, who played the young poet in love with Marguerite in a trouser role: Siebel. Her vocals were light and moving throughout the show, and her acting skilfully avoided the over-the-top tendencies often associated with trouser roles. Furthermore, in ‘Faust’, the dancers in the Walpurgisnacht scenes deserve a mention. In Cracow, they performed amazingly, both during the Walpurgis scenes and in their waltzes. Jacek Tyski choreographed their parts, and they added a lot of dynamics to the show. The orchestra, conducted swiftly by Sevtoslav Borisov, complemented the entire performance, creating an incredible visual and sonic experience. The show was very well received by the audience in Cracow and seems to be one of the most important productions of the season.

Iga Olszewska 

Art Director of Lohengrin Magazine