bassa selim who does only exist virtually in digital alienation on a large-pixel projection turns out to be generous again. so the finishing chorus can whirl around the projection wall. a horror-vision? it may stagger old wrinklies like us and we can quickly tell the loads of "mistakes". but the autumn of 1781 wasn't free of "mistakes" at all, too. and a new generation doesn't ask for "correctness" at first, not for "faithfulness to the original" – but it's not entirely superficial nevertheless. if little wolfgang would have liked it? this question can be answered with a spontaneous 'yes, because here the music obtains absolute power – and makes you forget anything else.'
die zeit

this "abduction" is intensive rock'n'roll, because it dares to revolt against the structures of opera that have been repeated to death ... the best cover version, that can arise from mozart's oeuvre in the ending 20th century.
tennengauer nachrichten (bernhard flieher)

fresh dialogues, sound compositions on the computer, outstanding singers, and a plot that is transferred into the virtual space of the internet. this co-production by salzburg festival and sommerszene, which celebrated its fierce premiere at stadtkino salzburg, is probably more trend-setting for the next century than all other mozart productions together.
oberösterreichische nachrichten (ilse retzek)

what can be done with mozart in a time when the youth finds it easier to get into the internet than to the opera house? digitalize him, of course!
wiener zeitung

four creative artists from salzburg have thrown the global net of our days over a humorous piece of art of the conventional world. mozart's music sounds freaky good when performed by dreadlocked and cropped young people who see the internet as an object of utility and search for the adventures of virtual reality.
tiroler tageszeitung (rainer lepuschitz)



in sé questo delirio sarebbe un insulto. ma al interno del festival è probabilmento lo spettacolo più bello, più onesto, più vicino all´anima di mozart.
corriere della sera (francesco m. colombo)

este mozart futuristica fue recibido con entusiuasmo el día del estreno por un público muy joven, que también applaudió las arias de constanza o el maravilloso cuarteto.
el pais (juan angel vela del campo)

reazioni? ovviamente cattivissime.
la republica (leonetta bentivoglio)