Die Deutsche Bühne

Thilo Sauer (critic)

Review for chasing waterfalls Semperoper Dresden (world premiere 3.9.22)



‘Die Protagonistin begegnet ihren Digital Twins, virtuelle Abziehbilder in silberschimmernden Kleidern mit einzelnen Wesenseigenschaften. Tania Lorenzo springt als Kind energetisch über die Bühne und Julia Mintzer legt ansteckende Euphorie in die Stimme des Glücks. Simeon Esper überzeugt mit weinerlich wirkendem Gesang als Zweifel, während Sebastian Wartig als Erfolg und Jessica Harper als Schein mit beeindruckender Intensität auf die Protagonistin einsingen.’


‘The protagonist encounters her digital twins, virtual decals in shimmering silver clothes with individual personality traits. Tania Lorenzo energetically jumps across the stage as a child and Julia Mintzer puts contagious euphoria in the voice of happiness. Simeon Esper convinces with tearful singing as Zweifel, while Sebastian Wartig sings as success and Jessica Harper as Schein with impressive intensity for the protagonist.’ 

André Sperber (critic)

Review for chasing waterfalls Semperoper Dresden (world premiere 3.9.22)



‚Neben der Protagonistin sind es insgesamt fünf weitere (von Menschen gespielte) Figuren, die sich auf dem Bühnenbild von Regisseur Beyer und Pedro Richter, das im Kern schlicht aus einer hohen Stufenkonstruktion und jeder Menge fließendem Wasser (Stichwort „chasing waterfalls“) besteht, bewegen. Die Charaktere, von Pedro Richter in cybergraue Kleidung eingehüllt, sind die personifizierten „digital twins“ der Hauptfigur. Selbstgeschaffene digitale Abbilder der eigenen Persönlichkeit also, darunter die Sehnsucht nach Erfolg (Sebastian Wartig), der nahende Zweifel (Simeon Esper), die Verheißung des Glücks (Julia Mintzer), der trügerische Schein (Jessica Harper) und das spielerisch forschende Kind (Tania Lorenzo); stimmlich allesamt der anspruchsvollen Partitur gewachsen.‘


‚In addition to the protagonist, there are a total of five other characters (played by humans) who move on the stage design by directors Beyer and Pedro Richter, which basically consists of a high step construction and lots of running water (keyword “chasing waterfalls”) . The characters, dressed in cyber-grey clothing by Pedro Richter, are the personified “digital twins” of the main character. In other words, self-created digital images of one’s own personality, including the longing for success (Sebastian Wartig), the approaching doubt (Simeon Esper), the promise of happiness (Julia Mintzer), the deceptive appearance (Jessica Harper) and the playfully inquiring child (Tania Lorenzo). ); vocally all up to the demanding score.‘


Past reviews:

A Millenial Opera

“Faust’s Jewel Song met a lyric about taking selfies, which Harper fleshed out with strong technical prowess and a talent for comedy.”


Die Fledermaus

“Soprano Jessica Harper steals the show as Rosalinde, both in terms of her acting and incredible vocal range. The operatic heights she hits are uplifting and gives this modern interpretation its classical gravitas. “

“His unhappy wife Rosalinde was terrifically sung by Jessica Harper who was in thrilling voice. She has great fun teasing Alfred and Gabriel. She suffered from self-deceiving hauteur and could be bitchy in her interactions with Adele yet positively charming to everyone else. Was she really in love with Alfred ? Or Gabriel ? Her show stopping aria in disguise, as a countess at the ball, when she sings the “Czardas”, her set piece in the second act , (“Klänge der Heimat”/”Songs of My Homeland”) had the audience at her feet in raptures and brought the house down .”

“I immensely enjoyed the singing by the whole cast – I thought it was strong on both nights, even if Sunday night’s performance seemed livelier. Jessica Harper was especially inspiring.”

Performance testimonials:

Krista Navarro

Danielle Haynes

Coaching testimonials:

Sarah Ampil