Review: THE HAUNTED MANOR at Wroclaw Opera

How do you build up an opera that is a national treasure, a patriotic symphony that still resonates in 2025? The Haunted Manor – widely considered Moniuszko’s masterpiece and one of the greatest Polish operas of the 19th century – and yet, surprisingly, it remains little known beyond Poland's borders.

This four-act opera, with a libretto by Jan Konstanty Chęciński, tells a story that is both intimate and grandiose. Its protagonists are two brothers, Stefan and Zbigniew, fresh out of the army, who take a solemn vow of celibacy and are ready to defend their homeland at any moment. They arrive at the Miecznik manor, where their daughters, Hanna and Jadwiga, are waiting for them. What ensues is a delightful mix of carefree fun, family rituals, and domestic mischief, as the brothers—and the audience—gradually discover the deeper truths of responsibility, courage, and love.

Every detail of this show feels meticulously crafted: the melodies, the ensemble scenes, down to the smallest gestures onstage. Watching it is like opening a treasure chest: every aria, every duet, every musical flourish, every detail on a costume is a gem waiting to be discovered. Moniuszko's music transports you to a world where national pride, humor, and deep emotion coexist, proving that an opera can be both a celebration of heritage and a deeply human story.

This production demonstrates, beyond a shadow of a doubt, that opera is far from boring or old-fashioned. The visual design and playful nods to historical events make this production fun and utterly captivating. Add a generous pinch of humor, dazzling dance numbers, and magical voices—oh my!—and you have the perfect recipe for an unforgettable evening. Daniel Dvorak's set design, combined with Magdalena Dąbrowska's costumes, takes us on a fluid journey through space and time.

Under the direction of Bruno Berger-Gorski, a German opera director of Polish descent, the production also invites us to reflect on the true meaning of "homeland." And it's full of hidden gems: the more you look, the more you notice the small details and subtle sparks that enliven each scene. The choir isn't just in the background; it participates in the action, injecting energy and freshness. We may not speak to each other in operatic tones in real life, but in this show, the performances feel almost realistic, thanks to the incredible cast.

Speaking of the cast… Łukasz Motkowicz's voice is as smooth as warm, creamy dark chocolate: rich, suave, and deeply comforting. Hanna Sosnowska-Bill and Aleksandra Opała are like twin summer breezes, swirling across the stage with effortless charm. Brothers Paweł Horodyski and Piotr Buszewski make you wish all your old friends visiting you were this caring, loyal, and fun—even though, let's be honest, none of them probably are. And the deliciously cunning Barbara Bagińska as the eccentric aunt? Hilarious, perfectly flawed, and absolutely breathtaking. Sebastian Rutkowski, Paweł Żak, and Jacek Jaskóła complete the cast, all impeccable both visually and sonically. The final Mazur was absolutely perfect, making the audience want to stand up and participate, even though, after thirty years of practice, day and night, they were still far from the choreographic precision and synchronization of the dancers. It's one of those moments that reminds us why opera can be not only a feast for the ears, but also a full-body experience that leaves you smiling, breathless, and a little awestruck. A big YES!

Photo: Karpati & Zarewicz

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