This introduction is so chillingly beautiful that it could hardly ever be surpassed - even if Staud's sonic inventiveness and talent for imaginative instrumentation do seem to be inexhaustible. (Eleonore Bühning, FAZ).
Musically, Staud has opened up considerably compared to his earlier works. Particularly in the moments when Berenice sings, he approaches the realm of entertainment music, tango, blues and jazz. These are not employed in the post-modern sense of a musical-linguistic collage, but function as a lascivious, soft mass of immediate, superficial, sensuous attraction. (Reinhard Schulz, SZ).
His openness is notable, and his approach is non-dogmatic. A delicate tango here, a bluesy musical ballad there, creepily floating glissandi, eerily abstract cantilenas. Not to mention a wonderful musical stalactite cavern of the orchestra, of noise-like sounds from tape, of jazz from the brass. And lots of percussiveness to go around. (Ljubisa Tosic, Der Standard)
In Staud's universe, word and sound achieve unity …. The result is musical theatre in the most literal sense. (Peter Jarolin, Kurier)