Not much happens, but Georg Friedrich Haas’s new opera is a mesmerising evocation of the great hereafter. (Fiona Maddocks, The Guardian, 22 November 2015)
Although little or no change in dynamic happens throughout, the soundscapes are spectacularly eerie, casting quite a mood in the vast hall and filling the space with atmospheric emotion. It is incredible to see such a huge orchestra employed in such a way, each instrument being used in a more creative and unusual way to create these unfamiliar sounds. (Lydia Lakemoore, A Younger Theatre, 15 November 2015)
Brandauer has called the opera a Gesamtkunstwerk, a fitting description for its unified artistic vision, even if comparisons with Wagner (or any other opera composer) are beside the point. (Gavin Dixon, bachtrack, 14 November 2015)
But if you are susceptible to Haas's musical language it will creep under your skin as it did mine. (Mark Valencia, WhatsOnStage, 14 November 2015)
Interested in the audience’s reactions? Find them here: Your Reaction: Morgen und Abend.