In subsequent months Kudlička's sets were shown to audiences in Poznań, where he worked with director Marek Weiss-Grzesiński. At Poznań's Teatr Wielki, they produced Georges Bizet's Carmen (2000) and Stanisław Moniuszko's Halka (2000). The following year Kudlička was the stage designer for Giuseppe Verdi's Otello directed by Treliński. This time the production, staged by the Teatr Wielki - Polish National Opera, did not cause such emotions as the two artists' previous joint projects. However, the visual setting again made a huge impression. The story of Othello unfolded amidst visual images suffused with the symbolism of colour. Kudlička expressed the tensions and conflicts of Otello by contrasting black with white. He continued to work with Mariusz Treliński, in Warsaw the two of them staged Pyotr Tchaikovsky's Onegin (2002) and The Queen Of Spades (2004), Mozart's Don Giovanni (2002) as well as Umberto Giordano's Andrea Chenier (2005) previously also produced in Poznań (2004), Puccini's La Boheme (2006), and Szymanowski's Król Roger / King Roger at the Wrocław Opera (2007). In an interview with Monika Małkowska for 'Rzeczpospolita' daily Kudlička told about working on La Boheme.
I tried to create an aura similar to the one that distinguishes the paintings of Edward Hopper, an American realist. He could perfectly reflect nostalgia, longing and solitude. And this kind of metaphysics of the space. ("Rzeczpospolita" nr 77, 31.03.2015)
Another production was an opera after Christoph Willibald Gluck Orfeo ed Euridice at the Grand Theatre – National Opera in 2009. In this performance the atmosphere of a fairy tale was replaced by contemporary reality. Kudlička built even the interior of an apartment building on the stage.
Boris Kudlička conjured an 'open space' with a living room, a bedroom, a kitchen, a closet, and a bathroom where Furies run amok in red dresses. (Jacek Melchior, "Wprost" weekly 2009, No. 23)
In 2009 he designed stage for Modest Mussorgsky's Boris Godunow, which was his another collaboration with Mariusz Treliński. Then, in 2010, they staged Giuseppe Verdi's Traviata at the Grand Theatre – National Opera. Boris Kudlička about the stage design before the premiere:
Decorations are going to be vivid and textural, placed on mobile units. The second act takes place in a rural area and will be a still element, right before returning to the cabaret-type style. In the final act the stage design will gradually become more efficient, until transition to a complete emptiness, the symbol of the character's purification.
In 2010 Kudlička worked with Tomasz Cyz on Antonín Dvořák's Rusalka staged at the Teatr Wielki in Łódź. The scenographer in an interview with Anna Pawłowska for the „Dziennik Łódzki” daily, said:
I represent a way of thinking that demands a lot from a text. I do not want to reproduce forests, meadows, fog or underwater worlds because in theatre they are always used as shortcut, they are always a cliché. Me and Tomek Cyz have concluded that this is a story that can be told in modern language. This wide interpretation can mean something spectacular, something moving and something very clear. This is the kind of form we want to acheive. A psychiatric hospital is not the most important thing in here. The hostpital's space is a metaphor of emptiness. No one wants to be there. This emptiness is a place where Rusalka finds herself. („Dziennik Łódzki” daily No. 53, 04.03.2010)
All of productions made by the renowned duo Treliński and Kudlička are long-awaited both by critics and audience. Their operas in folowing years included: Giacomo Puccini's Turandot (2011), Wolfgang Amadeus Mozart's Don Giovanni (2011), Wagner's The Flying Dutchman (2012), Puccini's Manon Lesacut (2012), Pyotr Tchaikovsky's Iolanta (2013), Béla Bartók's Bluebeard's Castle (2013), Thomas Ades' Powder Her Face (2015), Strauss' Salome (2016) and Wagner's Tristan und Isolde (2016).
The Flying Dutchman's libretto was based on Heinrich Heine's short story about a cursed sailor who was looking for a woman, a love of his life who would stay with him until his last days. The opera has premiered at the Grand Theatre – National Opera and was another great success for Treliński and Kudlička.
Powder her face premiered in May 2015 and was very well received. Thomas Ades' compositions had never been staged in Poland before. Dorota Szwarcman in her review for the „Polityka” weekly wrote:
Boris Kudlička has created on the stage of the National Opera an aesthetic space. The work's theme is very close to Mariusz Treliński and it is visible. Yet, he would not have been himself if he did not change something even in a modern play (the famous erotic scene takes place at a gas station, not as said in the text – in a hotel room). However, the co-production of the National Opera and the Théâtre de la Monnaie in Brussels is one of his most successful plays.
Richard Strauss' Salome is one of the most frequently staged operas. The one directed by Mariusz Treliński premiered in March 2016 and was produced in co-operation with The National Theatre / Národní divadlo in Prague. It is a biblical story transferred into contemporary context, with family ties, lusts, a crisis of faith and anxiety play leading roles.
Anna S. Dębowska in her review for muzyka.onet.pl wrote about stage design in Tristan und Isolde.
Two first acts take place on a warship, where Isolde under Tristan's guard is taken to king Mark to become his wife. A war is on and the director do not spare scenes of brutality. The stage design in the first act is a huge construction divided into segments, just like a shelving unit, that perform the function of numerous action sites: a claustrphobic cabin, where Isolde is kept, Tristan's cabin, the space below the deck where explosives are stored. The characters are being under constant supervision, every moment surveillance screens, showing Isolde's cabin, turn on. They are also at gunpoint of night vision equipment, the beginning is washed in green light. All of the above are very interesting ideas, clear and distinctive, likewise visualizations of a black sphere, a death or melancholy planet, associative with Lars von Trier's film Melancholia (the prelude from Tristan und Isolde was used in the film) or a ship slicing the waves.
Apart from working with Mariusz Treliński, as a worldwide renowned duo, Kudlička works often with Dale Duising and Keith Warner. With Dale Duising he has created plays including: Gioachino Rossini's Il viaggio a Reims, Benjamin Britten's The Rape of Lucretia, Jacques Offenbach's The Tales of Hoffmann, Luigi Cherubini's Médée, Engelbert Humperdinck's Hansel and Gretel and Emmanuel Chabrier's L’étoile. Kudlička 's co-operation with Keith Warner, a respected British opera director, who is particularly interested i Wagner, began with Death in Venice in 2006. Later on, the scenographer designed stage for Aribert Reimann's Lear based on Shakespeare's King Lear, Verdi's Simon Boccanegra, Mozart's The Marriage of Figaro and Krzysztof Penderecki's The Devils of Loudun.
Since 2011 Kudlička has been a scenographer for Amon Miyamoto's spectacles: Yukio Mishima's The Temple of the Golden Pavilion (2011) and Isamu Noguchi's The Earless (2013), staged at the Kanagawa Arts Center in Yokohama and Mozart's The Magic Flute (2013).