“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
“The stupendous accomplishment of soprano Vera-Lotte Boecker, always present, never shrill or overextended, who mastered the balancing act of her role as if sleepwalking under the adept conducting of Titus Engel, rounds off a delightful evening intended to seduce one to reflection.” Sabine Busch-Frank, Donaukurier
“I pay tribute to the performance of soprano Vera-Lotte Boecker, who sings, feels, disintegrates, plays Nadja, blowing up her psyche. Only to some extent can I imagine (I would be glad to avoid more) how martially undermining working on the role and acquiring it must have been. An attack on the singer’s personal ego. Her singing is a two-hour exceptional state.” Frank Heublein, Klassik begeistert
Vera-Lotte gewinnt den österreichischen Musikpreis 2022 in der Kategorie “Nachwuchs” für Ihre Gestaltung der Micaëla in George Bizets “Carmen” an der Wiener Staatsoper.
"Vera-Lotte Boecker sings Ms. Fusako Kuroda so perfectly that in a certain respect one can report that the actual premiere of the "betrayed sea" was experienced in Vienna last Monday" - The press
“Vera-Lotte Boecker as Micaëla is a shining light. With her richly coloured soprano, she sings her aria in a heartfelt, beautiful manner.” – Kurier
"First and foremost, Vera-Lotte Boecker, who, as a refined, attractive operetta diva and Russian Mata Hari, offers all the visual and acoustic delights imaginable (...) Boecker's round, lyrical soprano has profound depth, a comfortably velvety middle register and slightly appealing silvery highs. “ – online flag – Onlinemerker