"On the premiere evening, the role of John was performed by Sławomir Woźniak, a dancer with great abilities, who very accurately portrayed a young American, open and frank, surprised by the hostility and animosity of inhabitants of a little Greek village towards the newcomer from a different country. Woźniak endows his John with freshness of feelings and actions, youthful simple-heartedness and charm. He is very persuasive in showing John's emotional states and his way to maturity, real male friendship and understanding of life. "

Renata Popkowicz-Tajchert, Taniec nr 2 (11)1992


"Żymełka undoubtedly choreographed his ballet especially for Sławomir Woźniak whose brillant interpretation added new features to the image of Salieri. It is one of that dancer's best roles."

Jacek Marczyński, Taniec nr 3 - 4 (12-13) 1992


"Despite his young age, Sławomir Woźniak has already performed on stages in many countries. (...) That artist, so inconspicuously-looking in private life, undergoes amazing transformation the moment music starts playing. His body reacts like a tight string. Perfect technique along with acting skills make his dance ravishingly temperamental and expressive. The audience has no time for analyzing technical difficulties because the stage is bursting with joy or sadness, love or despair. The Japanese were able to appreciate that and each of Woźniak's performances ended with long-lasting applause (...). Sławomir Woźniak is also a caring colleague (...). I had a chance to see how he persuaded ballet students to introduce certain changes into their performances, how he supported them and helped them overcome stage-fright, being all the time a real gentleman."

Adriana Lewandowska, Taniec nr 1 (14) 1993


"And in the part of American tourist, the Parisians will see a new favourite of the Polish audience, Sławomir Woźniak, young and charming 26-year-old virtuoso and star of the Polish National Opera in Warsaw ."

Rene Sorvin, Le Figaro 16 marca 1993


"(...) a young American, John, danced by delicious Sławomir Woźniak. He is an exceptional dancer with a formidable presence and solid technique. The role is hard to dance, full of all kinds of difficulties which the dancer overcomes with easiness, precision and elegance. It would be a real pleasure to watch that artist in grand repertoire."

Gerard Mannoni, Le Quotidien de Paris 22 marca 1993


"We watch a new star of the National Opera in Warsaw, Sławomir Woźniak - the presence of heartthrob, exceptional technique and superb jumps."

Gilberte Cournand, Les Saisons de la Danse kwiecień 1993


"In Lorca Massine's recount of the story all characters are clearly defined and superbly interpreted (...). But the cast is dominated by young, 26-year-old Pole, Sławomir Woźniak. He is the star of the evening. That blond, classic dancer, a soloist of Warsaw ballet, presents lightness and technical infallibility, thanks to which he multiplies double turns in the air (tours en l'air), evolutions on the circle (maneges) and great jumps (grands jetes) with the easiness of movement, courage and exceptional precision.

Paweł Chynowski, Życie 2 April 1993


"In fact Sławomir Woźniak has not lost time and during his still short, 7-year professional he has achieved a lot. First, he won over the citizens of Wrocław, then those of Łódź and finally Warsaw people. Already in Łódź he worked out the respect of American ballet professor Irena Fokina, who, for the last three years, has regularly invited him for guest performances in the United States with her ballet company from New Jersey.

Paweł Chynowski, Życie Warszawy, 10 April 1993


"While the participation of Sławomir Woźniak, a soloist of the National Opera in Warsaw, in the category of classical ballet (senior division) ended successfully (...). His wonderful stage presence, dancing technique, high jumps, lightness, charm and elegance of movement, all that together with his male strength win not only critics' approval but, above all, the admiration of the audience. In each pas the dancer bristles with exceptional vital power and full of subtle shades joy of life."

Reneta Popkowicz-Tajchert, Taniec nr 2 (15) 1993


The clue of the evening was Carmina Burana (...). Anna Lipczyk and Sławomir Woźniak, together with corps de ballet, created very suggestive images praising nature, life and attractions of love. They reminded the audience that the National Opera has a ballet company able to dance beautifully and move the spectators with a show of individual talents.

Andrzej Socha, November 1995


"In Ek's ballet, Sławomir Woźniak found the way to express drama as well as present his great technical skills and male beauty which is quite important for the role of José. The enchanted audience awarded his performance with applause."

Ewa Solińska, Życie Warszawy 22 listopada 1999


"Sławomir Woźniak as a Young or Poet presented his class both as a soloist and a competent partner of three dancers. He delivered a very good dance and acting performance in the second ballet of the evening - Les Jeux. The part of Wacław (Nijinsky), dependent on Diagilev, his partner Tamara (Karsavina) and his wife Ramola, demands expressive acting skills (...). Woźniak was wonderful! - the painful split of the hero was almost palpable.

Katarzyna K. Gardzina, Trubadur, Dodatek baletowy nr 2 (15) April - June 2000


The principal dancer of the National Opera performed the dramatic role of Prince Siegfried. The artist showed the emotional growth of the hero, from a careless youth to a man madly in love.

Katarzyna K. Gardzina, Trubadur, Dodatek baletowy nr 2 (19) April - June 2001


One might think that in times when every few minutes a murder or a rape is shown on TV screens, such scenes no longer make impression on a spectator. Yet, when we see such events danced expressively on a ballet stage, the effect is completely different. The art of dance allows for showing both the most beautiful and the darkest side of life in the sublime way. Here, wild passions devouring a man are presented in spotlights (...). The stars of the evening are Elżbieta Kwiatkowska and the title Mandarin, Sławomir Woźniak, who, especially in the first part of the spectacle, sheds the image of an elegant ballet prince. As Mandarin he is a wild animal, a tiger let out of the cage. His fantastic jump from the metal construction stays in memory like a photo frame.

Katarzyna K. Gardzina, Trubadur, Dodatek baletowy do nr 4 (25) October - December 2002


"We start with the "first among equal", Sławomir Woźniak who was very sensitive and nervous Piotr Tchaikovsky. The dancer showed the dual nature of the hero and his torment in a perfect way. Occasionally, he became only a helpless shadow in the hands of his demonic Alter Ego which teases the composer's imagination. (...) Woźniak and Wojtiul's brilliant evolutions not only showed their technical mastery but also expressed intensity of emotions crucial in Eifman's ballets."

Katarzyna K. Gardzina, Życie Warszawy 24 June 2003


"Eifman expresses real appreciation for Sławomir Woźniak who performs the part of Piotr Tchaikovsky. 'He has fully adopted the role and is trying to find his own interpretation', says the choreographer."

Katarzyna K. Gardzina, strefa tańca nr 4 (4) July 2003


"Sławomir Woźniak proved his mastery both as an excellent dancer and expressive actor. A bit angular moves which he used in the role of Piotr Tchaikovsky clearly evoked the immensity of the composer's torment. High jumps, during which the artist "hung" for a moment in the air, spread out his body in the void. It is difficult to assess his performance only as a display of dancing skills because that is not the point here. What is important is the reality of experience and evocation of emotions which the artist achieved through various means."

Katarzyna K. Gardzina, Trubadur, Dodatek baletowy nr 3 (28) lipiec - wrzesień 2003


"The hero of the evening is Sławomir Woźniak. As a soloist, he jumped unbelievably well and carefully partnered three female dancers. He really was a choreographer-master, dancing teacher and... admirer of women. The next evening his interpretation of the character of Balanchine was a bit smoother and less dramatic, making the spectacle even better than before."

Katarzyna K. Gardzina, Trubadur, Dodatek baletowy nr 3-4 (32/33) lipiec - grudzień 2004


"Instead of an insignificant interlude, the ballet company presented a rich choreography by Sławomir Woźniak, a kind of comment on the action of the opera."

Dorota Pulik, Trubadur nr 3 - 4 (32/33) lipiec - grudzień 2004


"Sławomir Woźniak choreographed a ballet comedy, a genre rare in the world and almost comletely unknown in Poland. The principal dancer of the Polish National Opera played with ballet conventions. His Comi^x-Comedy is full of quotations from classical ballets and 20th-century choreographers (...). Woźniak adopted them very cleverly, parodying the ideas and combining them into a charming story of four guys on a binge at a night club (...). The ballet, very pleasant to the eye, was a real hit with the audience."

Jacek Marczyński, Rzeczpospolita 01.03.2005


"Sławomir Woźniak decided to take a risk and... he succeeded. He tried his hand at ballet comedy and chose as a subject the scene of four men drinking hard at a dive. It might seem a well-worn idea to show the effects of alcohol but Woźniak managed to use it as a pretext for excellent fun and the best juggling of music and ballet quotations I have ever seen (...). So, if you want to have a good laugh, don't go to a multiplex to see an overrated American comedy but to the well-respected National Opera to enjoy Comi^x-Comedy."

Katarzyna K. Gardzina, Trubadur, Dodatek baletowy nr 1 (34) styczeń - marzec 2005


"The title role was danced by the principal dancer of the National Opera, Sławomir Woźniak. Although visibly tired (presumably after the rehearsals), he not only performed the extended and technically difficult role very well but also accurately showed the evolution of Edmund Dantes from a jocular, naive youth to a mysterious aristocrat. Woźniak's strong personality was especially necessary in Act III, when, with his face covered with a mask, he had to portray Monte Christo's "constant habit of thought which (...) had given an ease and vigor to the expression of his face, and even to the most trifling gesture, scarcely to be understood."

Katarzyna K. Gardzina, Twoja muza nr 3 (10) maj - czerwiec 2005


In Teatr Wielki in Poznań, the old fairy tale is presented in such a way that it attracts the children brought up watching cartoons. The battles between mice and toy soldiers resemble the ones from the Cartoon Network. We owe that staging of the 19th century The Nutcracker with Tchaikovsky's music to Sławomir Woźniak. The most famous Polish dancer did not appear on the stage, however, but choreographed the spectacle. His version is not a classical one that can interest children, it's a performance with ballet elements for young spectators and their parents.

Jacek Marczyński, Rzeczpospolita. 13.02.2006

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