„Halka,” directed by Mariusz Treliński, is the best production of the Teatr Wielki – Polish National Opera in recent seasons and one of Treliński’s best. It delivers on everything. (…) The audience gave the artists a standing ovation, and everyone felt it was spontaneous. The production is a Polish-Austrian production, and I hope it will begin its journey across opera stages worldwide. Mariusz Treliński and his interpretation of „Halka” are wonderful ambassadors for Polish culture. (Katarzyna Janowska – Onet)

I think it’s also popular because there’s no literalness, no axes, and no moccasins – although, strictly speaking, they do appear, but on a few dancers invited as wedding guests. What’s more, when I spoke with various people, they had various associations: with Wojtek Smarzowski’s „The Wedding,” and even with the Oscar-winning „Parasite,” which also reflects class antagonisms. There are no fewer of them today than in Moniuszko’s time; they just take different forms. (Dorota Szwarcman – „Polityka”)

Meanwhile, Mariusz Treliński’s „Halka” is diametrically opposed to the stereotypical approach that has prevailed for 150 years. (…) The entire performance proved that „Halka,” in its modern form, remains a universal story. (Jacek Marczyński – „Rzeczpospolita”)

Transposed in the Warsaw National Opera production to the Hotel Kasprowy in Zakopane during Edward Gierek’s era, „Halka” gained new momentum without losing its musical integrity, which is also thanks to Piotr Beczała’s acting and vocal performance. During the overture, Mariusz Treliński directed a cinematic flashback, introducing the aura of a psychological thriller. The design, costumes, and fashion work brilliantly, as do the customs of the disco era, depicted through scenes of wedding dancing. (Jacek Cieślak – „Rzeczpospolita”)