“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