The Grand Theatre – National Opera presented the world premiere of the contemporary opera 'Mothers of Kherson' on October 24, 2025. The production was directed by Barbara Wysocka, based on a libretto by American playwright George Brant and music by Ukrainian composer Maxim Kolomiiets. The opera focuses on the painful theme of the mass abduction and deportation of Ukrainian children to Crimea following the start of the Russian invasion. The world premiere took place on Saturday, October 24, while the online broadcast will be available for two weeks on the ARTE platform and on TVP Kultura and TVP VOD, with the scheduled premiere airing on Sunday, October 25, at 20:05.
Plot and Universal Message
The libretto is inspired by true stories, although in a synthetic abridgement, it attempts to show the diversity of the characters' fates while preserving their common traits. All the female protagonists – the mothers – lost their daughters, who were deceptively taken to the Crimean Peninsula. Due to the war, even despite the geographical proximity of Kherson and Crimea, the women must travel a route measuring thousands of kilometers to reach the camp via a roundabout path. The production raises the question of whether they will manage to reclaim the children taken from them. The creators emphasize that the opera is an example of art responding to contemporary challenges, as it allows the voices of wronged women to be heard and focuses on the suffering of children, while simultaneously highlighting the will to fight and sacrifice in the name of upheld values.
Staging and Cast
The production is characterized by a powerful setup and a large cast, which, according to reviewer Anna Dębowska from 'Gazeta Wyborcza', was skillfully managed by the production team. In addition to the direction by Barbara Wysocka, key roles in the realization are played by set designer Barbara Hanicka and costume designer Julia Kornacka. The music is conducted by Keri Lynn-Wilson. The cast includes, among others, Izabela Matula (the role of Kateryna), Hanna Sosnowska-Bill (Lilia), and Kamila Dutkowska (Dasza). The part of Vitaliy is performed by Andrei Bondarenko, and the character of the rescue mission organizer (Maria) was played by Katarzyna Wietrzny.
The performance also features the Choir and Orchestra of the Grand Theatre – National Opera, as well as the 'Artos' Children's Choir named after Władysław Skoraczewski. In the choir's solo scenes, such as the sewing room scene or the bus scene, participants include Anna Skobel, Dagmara Sokalska, Lidia Kitlińska, and Mariia Udovenko. Lighting is handled by Marc Heinz, while projections were prepared by Barbara Wysocka and Artur Sienicki. Stage movement was developed by Alisa Makarenko, and the dramaturgy by Paul Cremo.
Critical Reception
The opera was met with positive reception from reviewers, who appreciated its universal dimension and production quality. Fiona Maddocks from the British daily 'The Observer' described the work as a "brave and blistering" opera dedicated to Ukraine's stolen children, praising the music, which is as combative and dissonant as it is melodic, fully capturing the weight of the subject matter. Jacek Marczyński from 'Rzeczpospolita' noted the composer's ability to differentiate orchestral and vocal music, emphasizing that both the author of the text and the musician were concerned with ensuring that the story did not sound false.