• No-One Show
    • Jerzy is a composer who doesn’t think in scores but in total concepts. He pushes the boundaries of music theater with great ambition.
      – Tobias Kokkelmans (director of Nederlands Theater Festival, Amsterdam Fringe, dramaturg of O. festival, August 2021)

      A bit of magic and a bit of ‘return to nature’ style also appeared in Jerzy Bielski’s “No-One Show”. VR isn’t merely a trendy addition in here, but a medium, of which full potential has been used allowing to create results impossible to achieve any other way. However, the intense multimedia experience is only an introduction to much more…the ending being a positive surprise for many people.
      – Krzysztof Stefanski (“Ruch Muzyczny”, # September 2021)

    • Zamenhof Project: Breaking the Codes
    • Bielski has an undeniable sense of theater. 
      – NRC **** (Joep Stapel, 6 September 2019)

      Bielski constructs a world which surprises, challenges and confuses. His work, praised by the public and the press, is unconventional, limitless and deliberately outside any boxes.
      – Muziekgebouw aan ‘t IJ website (Amsterdam, January 2020)

    • Down/Up
    • A beautiful contrast (...) were the crazy, energetic pieces "Up" and "Down" by the Polish composer Jerzy Bielski. His approach is distinctly theatrical.
      – Culuurpers (Utrecht, Thea Derks, September 10, 2016)

      (...) strong was the diptych "Up" and "Down" by Jerzy Bielski: a dramatic oratorio cut loose from language and meaning. Both parts condition clever mirror effects, but rapture was mainly because of the exciting interaction between the soprano and the instrumentalists.
      – NRC (Joep Stapel, 12 September 2016)

      Bielski searches for a different language in the singing voice.
      – Jan Nieuwenhuis (Gaudeamus Muziekweek, Sep 9, 2016)

    • + - / , 1 = _ ; X %
    • The true impact of + _ /, = _ X%  by composer Jerzy Bielski, comes with the delirious criticism of the irrational chaos of financial markets, using the means of systematic choreography. That’s why, we are delighted to say, that the project will continue and you will be able to revisit it soon.
      – Ballroom Revue de Dance (Paris, Marie Juliette Verga, December, 2015)

      This is a performance that you do not forget (...) The way Bielski and Abouav make theater is anything but traditional.
      – Het Parool  (Amsterdam, Camila Bennink, September 2016)

      The success of this performance lies not only in the fact that with modest means (chairs, tables, paper, and a beamer) a whole new universe is convincingly evoked in front of the audience’s eyes, so that they cannot do anything else but join in…Also, the success lies, just as much, in the detailed choreography, which, while at the same time helping the performers on stage/the meeting room, it nearly aggressively puts a full control over the piece’s atmosphere into their hands.
      – Theaterkrant **** (Netherlands, Pieter Rings, September 2016)

    • MORE (White-Red-Black)
    • Musically very strong: the psychedelic soundscape that is brought live from the set by three musicians skilfully responds to the theatrical images.
      – Het Parool  (Amsterdam, Sander Janssens, July 4, 2016)

      Jerzy Bielski lets a few musicians, technical assistant, and a few mimers to, quite literally, take possession of this enormous space, of this science fiction graveyard. With their performance, they tell a story-not-a-story, about self-fulfilling egos, which are just a little too comfortable delusions, and therefore are overwhelmed by a stroboscopically highlighted war on terror. As the three performers hang half-dead on the ropes or are being buried alive by the assistant, the searchlights high above us say to us that it’s our turn now, the spectators at the tribune. I won’t give away what happens next.
      – De Groene Amsterdammer  (Amsterdam, Loek Zonneveld, July 7, 2016)

    • not only FUTURISTS
    • This exceptional concert conceived by Jerzy Bielski combines (non) music and theatrical performance to provide an hour-long (art) history lesson laced with humour (...)[Futurists is] a group of fearless thinkers who expose our common madness, our willingness to rush headlong into the fray without heeding the outcome. (…)

      They are not cute, they don't even try to be nice. They are loud, they are brash, they take no prisoners. They brought a goldfish and they're on a mission to show us that we have a problem, and it's only going to get worse.
      – The Critter (South Africa, Steve Kretzmann Sep 13, 2015)

    • Circuit
    • A rollicking, ingenious, painstakingly orchestrated record that draws from nearly every available genre of music, Circuit’s “Codes” is an achievement bespeaking musical creative greatness and genuine artistic integrity in its each and every attribute. (...) Like a novel by James Joyce, the album is chock full with signs and symbols.
      – MondoTunes (USA, Sean McCauley, November 2012)

      One of the main strengths of the band is its front man Jerzy Bielski (...) Circuit’s music is a patchwork of all possible styles, a blend of music and performance art that combines sound and silence, images, samples and murmurs. It’s a deconstructionist approach to music; the band misleads its audience with sudden changes of rhythm, style and instrumentation.
      – Port Kultury (Gdańsk, Katarzyna Gajewska, October 26, 2012)

      Song ‘Thank you from the mountain’ simply knocks you off your feet.
      – Cooltura (London, Piotr Dobroniak, June 19, 2011)

      The concert was excellent. It testifies to the fact that young people are, unselfconsciously, making sounds and harmonies that are beyond the comprehension of those who just sit in front of their TV.
      – SPATiF (Sopot, Arkadiusz Hronowski, 25 October 2012)

      Jerzy also writes music for theatre and shows up in various music projects, which provides evidence of his indefatigable artistic resources and hunger for creativity. (...) With mathematical precision, he has been drawing up notes, polishing lyrics and gathering the best musicians to complete his ambitious project [Circuit].
      – Kobieta w UK (London, Małgorzata Przymierska, 3 March 2010)

      The band sounds like nothing else before them, even if some compare the group to the likes of Frank Zappa, Pink Floyd, Loose Tubes or classical composer Gyorgy Ligeti – there are moments when these wide-ranging influences are apparent, but it is safe to say that the style of Circuit is eclectic and can only be described as a mixture of many styles with an emphasis on rock and with an experimental approach to form, where tight rhythms and fast tempos contrast with open out-of- time free solos.

      [Circuit] is much more than nine instruments on one stage. It‘s a real riddle for a music lover and can by no means can be pigeonholed or bore.
      – Goniec Polski (The Polish Times, London, issue 372, 22 April 2011)
    • The Monstrum Band
    • (...) And what music that is! Wildly played on everything, which could be brought to a theatre (...). The effect is great – this anarchist cacophony not only can be listened to but one indeed wants to do it. This, considering the set of bizarre contraptions, really sounds good.
      – Gazeta Wyborcza (Monika Żmijewska, November 27, 2016)