On Ivan Blatný Cabaret
-Slov-, Houser, Life is a cabaret?, 19 April 2007

The life and work of Ivan Blatný (1919 - 1990), a distinctive yet still under-rated Czech poet, have become the inspiration and basis for the chamber music Ivan Blatný Cabaret by the composer and librettist Miloš Orson štědron, staged by Prague's Divadlo Komedie...Štědroň's superlative music and libretto have found a response at this theatre with the stage director Jan Nebeský, who has created a singular reply to the genre of poetic theatre, as well as the musical experiments of rival stages. Divadlo Komedie presents another truly original performance bound to enchant and entertain an unconventional, playful spectator. With wit, colourfulness, lightness and devoid of even a hint of pathos, the theatre has successfully squared up to the poet's frail disturbed soul, as well as his melancholic poems.

Jan Kerbr, Mladá fronta Dnes, 3 April 2007
The Prague Chamber Theatre has prepared a remarkable project, a musical configuration by Miloš Orson štědron, Ivan Blatný Cabaret, in which the poet's texts are used... Štědroň's unique performance oscillates from cabaret songs to something verging on oratorio...

Vladimír Hulec, Czech Radio 3 - Vltava, 24 April 2007
"My dream has always been to create an original piece of music theatre combining music and text in such a manner that it wouldn't be possible to precisely define to which theatre genre it belongs." said Miloš Orson Štědroň before the premiere of his work Ivan Blatný Cabaret at Prague's Divadlo Komedie. Blatný's heart-rending texts, Nebeský's eccentric situations, Miloš Orson Štědroň's songs influenced by modernism - jazz and cabaret, Karel Dobrý's grotesque acting art - all this combines to make the performance an extraordinary theatre event transcending the borders of a mere production and, perhaps, mere theatre as well... Doleful cabaret, tragic fate, brilliant theatre. Ivan Blatný Cabaret is one of the greatest events of the Prague theatre season.
Matěj Stropnický, Literární noviny, Básník pod proudem, 30 April 2007
Divadlo Komedie has staged something we have been lacking in Prague a long time: an original and utterly poetic cabaret. The entire performance straddles the border between madness and genius, as is required by the fate of the Czech poet Ivan Blatný...Depicting a poet's fate in an asylum in vaudeville form, with dialogues almost entirely taken from his verses, with original jazz-band music, is a paramount audacity. Yet an audacity brilliantly written and performed.

Josef Mlejnek, Divadelní noviny 9, 2 May 2007
...The author of the music and libretto, mostly created from the texts of Blatný's two volumes of poetry written in exile, Stálá bydliště (Permanent Residences) and Pomocná škola v Bixley (Special School in Bixley) is the young composer Miloš Orson Štědroň... yet the "mad" music does not represent a facile swing revival. The Cabaret's author himself sits at the piano, while the (not unpleasant) sound of trumpet played by Ladislav Kozderka penetrates the ears. Harmony in discord? It is as if this music had come through bars similar to those passed through by the poems hurled by Blatný, a "macaroni" amalgam of languages, a primary poetic raw material.

On the musico-dramatic programme Die Musik ist fein und fern and the chamber composition Prosper&Gamble staged in Berlin at the "Festival Tschechischer Kunst und Kultur"
Prager Zeitung, 23 December 2004
... Young female musicians enchanted the audience for an hour in the exhibition hall of Akademie der Künste (Berlin) with Štědroň's music. Even though it takes a while to get used to this music, time and time again it surprises with frequent harmonic and melodic sequences. With his pieces "Die Musik ist fein und fern" and "Prosper&Gamble", the 30-year-old composer has demonstrated that he does not acknowledge there being any border between music, spoken word and dramatic art.

On the opera Human Tragicomedy
Lenka Foltýnová, Harmonie, 13 June 2003
...This time Miloš Štědroň Jr (1973) introduced himself. He has chosen for his opera Ladislav Klíma's literary work Human Tragicomedy. Štědroň is not only the author of the music but also the libretto, and he even co-directed the performance. ... The despair, emptiness and tragicomedy of the final act is cogently expressed by the music too. Similarly to Klíma, Miloš Štědroň has penetrated to the very essence of individual characters by means of both the libretto and, primarily, in musical terms...Miloš Štědroň's opera definitely deserves another performance.

Miroslav Pudlák, His Voice, 3/2003
On 23 March 2003 a new opera, staged within the Pounding on the Iron Curtain cycle, was premiered in Prague. It occurred without a special promotional prelude, which such an event would have deserved...The music by Miloš štědron (1973) bears witness to an undisputable talent. He possesses the greatest potential for the opera genre of all the new opera composers we have heard here so far. Human Tragicomedy's music is not clear-cut when it comes to style, ranging from new music to jazz and minimalism.