The (performance) is sustained in particular by Vera-Lotte Boecker. Not only because she moves confidently in even the most remote soprano regions: with unconditionality, with a will (always vocally controlled) to relinquish, she makes her Nadja into the descendant of all Salomes, Elektras or Iphigenies – and that is not the case due solely to this piece, in which a great past tragedy echoes.” Markus Thiel, Münchener Merkur

"Vera-Lotte Boecker evolves from demure repression to animal passion with compelling strength" - Financial Times

“Haas’s corresponding orchestral musical language with microintervals, quarter-tones, overtone series made to vibrate and oscillate interweaves, often in a wonderful way, with sometimes lurkingly grotesque, sometimes intensive, ‘pure’ cantilenas of pain that Vera-Lotte Boecker, as Nadja, makes smolder. The way she sings some high notes with a melting pain just as sensual as it is powerful – is phenomenal.” Jörn Florian Fuchs, Bayerischer Rundfunk