"Clever, witty, moving": Press reviews of the acclaimed premiere of Killing Carmen

"Clever, witty – and above all moving." (Kurier)

"Lively and clever, spirited and moving: With Killing Carmen at the Volksoper Vienna, just about everything works." (Kronen Zeitung)

"Judging by the thunderous applause, Strunk’s team has once again delivered a smash hit." (Der Standard)

"Perhaps productions like this are the answer for everyone dissatisfied when classics are hijacked by directors. As wild and liberated as this adaptation was, the result – thanks to the director’s evident love for the story and the characters – remained closer to the original than many a post-postmodern directorial fever dream." (Die Presse)

"In Killing Carmen, everything happens that is usually strictly forbidden – or, worse, would count as something ‘new’ – in a regular opera performance. And all of it in such a clever, affectionate, and delightful way that this production is a must not only for newcomers but especially for seasoned opera fans." (Kurier)

"One experiences the beauty of an opera whose reception has long been obscured by its own greatest hits – with fresh ears and newfound delight." (Kurier)

"The production was carried by its leading performers. Florian Carove really ought to be named Charisma – his Lieutenant Moralès was a feast for the eyes, every gesture masterful. Julia Edtmeier slipped into two roles (…) and filled these very different characters with dizzying virtuosity of expression (…). Stefan Cerny, too, surpassed himself (…). His forceful basso profondo was a perfect fit, delighting the audience and even sparking a brief sing-along moment. Between him and Katia Ledoux’s Carmen there was real electricity – they were clearly meant for each other. Ledoux received loud cheers from her very first entrance, singing a jazz-inflected version of the Habanera. Her voluminous soprano is worth every bit of applause (…). Anton Zetterholm is a musical theatre star, and he sang like one: he played with his tenor impressively effortlessly, from steely fortissimo to the softest falsetto." (Die Presse)