PRESS

Das verratene Meer [The sailor who fell from grace with the sea]

Vienna State Opera

Premiere 14 Dec. 2020

“… who also harmonises ideally with the soft, expressive soprano of his mother. Vera-Lotte Boecker sings Fusako Kuroda so consummately that in a sense one is permitted to report that the real premiere of the “Betrayed Sea” took place in Vienna last Monday: in Berlin back then the leading lady was hoarse, could only—on medical advice—play her role and was dubbed acoustically by a colleague who sang from the music from the side stage. Inevitably, what one heard was only an approximate rendering of what Henze had noted down. Vera-Lotte Boecker sings everything. And she sings it with dedication. In her long monologue in the next to last scene, ‘Ein Kleid aus Blüten werde ich tragen’, she indulges, in seductively beautiful melodic arcs, in the delightful illusion of a better life, including a few breakneck coloraturas that occurred to the composer only for the second version of his work in Japanese.”

Die Presse, Wilhelm Sinkovicz, 16 Dec. 2020

 

“The excellent ensemble – both theatrically and musically – skilfully realises the production’s complexity. Vera-Lotte Boecker as Fusako and Josh Lovell as Noboru in particular make use of the room they’ve been given to show lived and suppressed yearnings.”

Marlene Nowotny, ORF, 15Dec. 2020

 

“… while Neo ensemble member Vera-Lotte Boecker, who has already been heard in Henze’s ‘Bassarids’ in Salzburg in 2018, sensitively creates her Fusako with her shimmering soprano.”

ORF 2 /ZIB

Martin Fichter-Wöß, 15Dec. 2020

 

“With her soft soprano, Vera-Lotte Boecker devotes herself to all facets of Fusako.”

News.at, 15Dec. 2020

 

“The Mother was in the very best hands with Vera-Lotte Boecker—vocally the most challenging role.”

Radio Klassik, Richard Schmitz, 15Dec. 2020

 

“Enthralling and at the same time lyrical-glamorous, Vera-Lotte Boecker as the boutique owner Mother Fusako, who appears at the end to be a nervous wreck. She looks as if she suspected that her Neo husband is just now drinking tea with the murderers.”

Der Standard, Ljubisa Tosic, 15Dec. 2020

“As Ryuji’s great love Fusako, Vera-Lotte Boecker, new in the State Opera ensemble, shows how suggestive music theatre can be.”

Kleine Zeitung Kärnten, Thomas Götz, 16 Dec. 2020

 

“With her full and confident lyric soprano, Vera-Lotte Böcker [read our reviews of the ‘Bassarids’ in Salzburg and Berlin] impresses in the only female role in a work that has unjustly been disregarded.”

Anaclase, la musique au jour de jour, Laurent Bergnach, 15Dec. 2020

 

“Musically, the evening succeeds magnificently. Vera-Lotte Boecker is a luminously intense Fusako.”

Tiroler Tageszeitung, Stefan Musil, 15Dec. 2020

 

“The cast is ideal … (…)Vera-Lotte Boecker with a lustrous soprano which approaches Lulu.”

Kronen Zeitung, Karlheinz Roschitz, 15Dec. 2020

 

“Vera-Lotte Boecker, who has already been heard in Henze’s ‘Bassarids’ in Salzburg in 2018, stood out as Fusako. At the end, she has to endure the traumatic judgment of her love by the gang as a listener.”

Kurier, Georg Leyrer, 15Dec. 2020

 

“Vera-Lotte Boecker oscillates between saucy femme fatale and resolute single mother. The soprano copes effortlessly with the coloraturas of her virtuoso final monologue.”

Salzburger Nachrichten, Florian Oberhummer, 16 Dec. 2020

 

“Vera-Lotte Boecker (Fusako) convinces absolutely with singing that is at times delicately responsive, at times fevered.”

Wiener Zeitung, Christoph Irrgeher, 16 Dec. 2020

 

“Vera-Lotte Boecker is the young widow who has problems with her son and wants to find new joy in life with a sailor—a challenging role both vocally and dramatically that shehandles impressively.”

Oberösterreichisches Volksblatt, Renate Wagner, 16 Dec. 2020

 

“As Fusako, Boecker had the greatest versatility of all the singers and played an irritated mother just as convincingly as a seductive doll.”

Bachtrack, Michael Klier, 15 Dec. 2020

  

“Henze’s lyrical genius emerges especially in the role of Fusako, brilliantly sung by Vera-Lotte Boecker, whose previous appearances in Henze operas include his The Bassarids at Salzburg (2018) and Der Prinz von Homburg at Staatsoper Stuttgart (2019). The part of Fusako bears enough resemblance to Lulu that one can easily imagine Boecker, with her agility and grace, as Berg’s tragic femme fatale.”

Operacanada, Denise Wendel-Poray, 23 Dec. 2020

 

“Vera-Lotte Boecker is a fragile, doomed Fusako, sensing destruction, desperate to live.”

Financial Times, Shirley Apthorp, 21 Dec. 2020

Springstorms, Komische Oper 2020

Besides the orchestra playing in top form, the evening’s success is thanks to four very good singing actors from the ensemble: first and foremost Vera-Lotte Boecker, who visually and aurally offers all imaginable delights as a sophisticatedly attractive operetta diva and Russian Mata Hari. Like Mirjana Irosch in her day, she bets all her feminine trumps at once on the great roulette table of life in order to rescue her great love Ito, despite lively espionage for the enemy. Her arias and ensemblescenes are also the musical high points of the score. Boecker’s full lyrical soprano has substantial depth, a pleasantly velvety middle voice and readily appealing silvery high notes.

onlinemerker.com, 26 Jan.2020, Dr. Ingobert Waltenberger

Vera-Lotte Boecker sings with highs that she reaches effortlessly; despite the great clarity of the timbre, they are never harsh.

Peter Uehling, Berliner Zeitung, 27 Jan.2020

Vera-Lotte Boecker sings and acts Lydia with an expansive dignity.

Clemens Haustein, Frankfurter Allgemeine Zeitung, 28 Jan.2020

Thus Vera-Lotte Boecker creates Lydia Pawlowska, idolized in every respect, like a true opera diva, with luminous, effortless high notes.

Frederik Hanssen, Der Tagesspiegel, 27 Jan.2020

 

La Traviata, Komische Oper, 2019

The young Vera-Lotte Boeckeracts her way into the hearts of the audience in a silk crinolinedress; Boecker plays the digital prostitute who has strayed from the path with passion, yearning for life even while dying, and turns the famous Addio del passato, her farewell songsuffocated with fear, into an experience due to her sensitive creative power and beautiful soprano high notes.

9 Dec.2019, Opern- und Konzertkritik Berlin

 

The bassarids, Komische Oper, 2019

..the tremendously present and fascinatingly radiant Vera-Lotte Boecker as Autonoe..

concerti, Roland H. Dippel,15 Oct. 2019

…where the mother Agave (Tanja-Ariane Baumgartner in fervent mezzo splendour)and hersister Autonoe (Vera-Lotte Boecker– skillful in coloratura and assured in the stratospheres)

13 Oct.2019, onlinemerker

 

Der Rosenkavalier, Komische Oper 2019

Vera-Lotte Böcker can shine and bloom as a first-class Sophie with her lyrical soprano voice,clear as a bell and technically confident upto stratospheric heights. She need not fear comparisons with anyone. As a character, she acts in a manner that is pleasantly more independent and more self-aware than in other productions. Probablyshe is tomorrow’s Marschallin, still to gainexperience in matters of love.

onlinemerker.com, 9 June 2019, Dr. Ingobert Waltenberger

The prince of Homburg, Stuttgart State Opera

 

With a luminously intense soprano all the way up to completely effortless high notes, Vera-Lotte Böcker as Natalie captures our attention, captivating us in her interpretation of the role: belligerent and yet femininely sensitive.

Udo Klebes, Onlinemerker, 21 March 2019

 

And in Natalie, Vera-Lotte Böcker combines tenderness with a resolute will to an audacity that only strong love can instil in a person. She’s the one who instigates the revolt when the Elector wants to have her Homburg executed for a trifle. In her singing, Böcker is able to communicate the same hate for the mindless military that Kleist, Henze and Bachmann feltfrom their own conviction and condensed in this work.

Süddeutsche Zeitung, Reinhardt J. Brembeck, 20 March 2019

 

Vera-Lotte Böcker sings Natalie, beloved by the Prince, with a luminous, ecstatic, superbly focused soprano. Already at the very beginning when she envelops the chatting ensemble with her gentle cantilena, the sky of dreams is open.

Eßlinger Zeitung, 19 March 2019, Martin Mezger

 

„La mise en scène met bien en valeur les élans adolescents de Natalie, la bien-aimée du prince, et Vera-Lotte Böcker montredans ce rôle des talents d’actrice et une adéquation vocale toutaussi remarquables.“ /“The production enhances the adolescent bursts of Natalie, the prince’s beloved, and in this role Vera-Lotte Böcker shows acting talent and vocal aptitude that are quite remarkable.”
ResMusica, 3 March 2019, Dominique Adrian

 

Vera Lotte-Böcker lui répond avec une ligne toujours parfaitementmaintenue d’une voix particulièrement ample, au timbre coloré, jamais dénaturé jusque dans le haut du spectre.” / “Vera Lotte-Böcker responds to him with a line that is always perfectly maintained; her voice is particularly full, with a colourful timbre that is never distorted, all the way to the height of her range.”
Altamusica, 28 March 2019, Vincent Guillemin

 

That’s because Vera-Lotte Böcker is the female centre of this Stuttgart premiere of Henze’s opera, and her intensity and dramatic stage presence, combined with crystal clear and yet intensely sensual vocal lines, tops even the prince’s.

Klassikinfo, 17 March 2019, Klaus Kalchschmid

 

Vera-Lotte Böcker‘s crystalline, tremendously stable soprano voice lend Princess Natalie of Orange, who must fight for her love, the necessary radiant power.

NMZ, 20 March 2019, Georg Rudiger

 

Vera-Lotte Böcker as Natalie soars to inconceivable heights which she handles breathtakingly. Tender, agile, and at the same time resolutely determined and with a face that speaks volumes, she holds her ground among the more obtuse soldier fellows.

Frankfurter Rundschau, 20 March 2019, Judith von Sternburg

 

But at the same time Ingeborg Bachmann also outlined in her libretto the insistence on obedience to orders, and Henzecomposed in long passages a martial world of sound that Cornelius Meister, as conductor, fascinatingly played out in all its violence. He also found, however, the quiet sounds, the lyrical ones that always resound when Natalie, who loves the Prince, voices her feelings. Vera-Lotte Böcker succeeded admirably up to the highest notes; she was always full of expression; her Natalie was a sung plea for empathy rather than obedience.

Bachtrack, 19 March 2019, Rainer Zerbst

 

Dazzlingly, with charm and (physical) presence and coloratura virtuosity, Vera-Lotte Böcker achieved Princess Natalie.

Die Deutsche Bühne, 18 March 2019, Andreas Falentin

 

La Bohème, Komische Oper Berlin

 

“… of course, Kosky accords Vera-Lotte Böcker as Musetta—who also brilliantly turns up the vocal heat—all available registers between fun and the heart. (…) The impressive Vera-Lotte Böcker is at front and centre: the revaluation of Musetta by the soprano, who formed the artistic centre of Munich’s production of ‘La juive’, turns out fascinating.”

Concerti, Roland H. Doppel, 29 Jan. 2019

 

“The highly attractive Vera-Lotte Böcker enthrals us with a flawless Musetta waltz. Vocally, she offers the most perfect performance of the evening. Stupendous on all counts.”

Onlinemerker, 29 Jan. 2019

 

Viktoria and her Hussar, KOB Berlin, Philharmony Cologne

 

“Vera-Lotte Böcker (Viktoria) sang with a beautiful voice and big, expansive high notes—and she has the ideal natural charisma of a youthful operetta diva, free of any artificial posturing.”

Stefan Rütter, Kölner Stadtanzeiger, 16 Jan. 2019

 

“The absolute star of the evening is Vera-Lotte Böcker in the role of Viktoria! She credibly performed the emotionally charged balancing act of being pushed and pulled by the love of Rittmeister Koltay, until then long-lost (…) and of the paternal American emissary (…); her soprano voice has an almost crystal-clear way of fading away; her spectrum of high notes seems to be effortlessly expandable upwards to any desired height.”

kultura-extra.de, Andre Sokolowski, 15 Jan. 2019

 

The bassarids, Salzburg Festival

“The way these two women are shaped by Tanja Ariane Baumgartner and Vera-Lotte Böcker in Salzburg is the utmost in the art of singing and acting. Böcker’s Autonoe stands on stage in a victorious pose, legs apart and covered in blood, swinging an axe over her head …”
Neue Zürcher Zeitung, Marco Frei

 

“In their portraits of status-consciousness cattiness and psychological disinhibition, Tanja Ariane Baumgartner as Agava and Vera-Lotte Böcker as Autonoe never transgress the limits of vocal self-control.”

FAZ, Jan Brachmann, 18 Aug. 2018

 

“The other figures are half-hearted procrastinators and soul-searchers, like the aunt brilliantly portrayed by Vera-Lotte as a turncoat.”

Süddeutsche Zeitung, Reinhard J. Brembeck

 

“The young Vera-Lotte Böcker from the KOB ensemble was also a discovery: she gave Autonoe a life on the stage with a wonderfully youthful lyrical and vividly physical soprano sound.”

Die Deutsche Bühne, Detlef Brandenburg

 

MAGIC FLUTE, PARIS, OPÉRA COMIQUE

“Vera-Lotte Böcker, one of the most promising young singers on the German stage, with a luminous, nuanced soprano voice, was a touching and delightful Pamina.”
Operapoint BLOG

 

“Vera-Lotte Böcker (originally in the B cast) substituted at the last minute for Nadja Mchantaf, who originally played Pamina. Ms. Böcker offers a princess who evokes the actress Louise Brooks, with a short square haircut and great facial expressiveness, despite her silence when not singing. And when she does sing, she offers a powerful and dry voice on the high notes, proving great mastery of her instrument, particularly in pianissimo passages, producing trickles of crystalline voice. Her performance was received with warm applause from an audience whose hearts she had evidently captured.”

olyrix.com, Malory Matignon, 7 Nov. 2017

 

“The best vocal surprise of the evening came from Vera-Lotte Böcker’s delicious Pamina of, who you can also hear on November 11thand 13th.”

telerama.fr, Sophie Bourdais, 9 Nov. 2017

 

“Ultimately, Vera Lötte-Bocker is without a doubt the star of the performance: her presence, as Tamina-Louise Brooks, is incandescent, the power of her clear, even crystalline voice, and the emotion that her mastery enables her to instill into her singing definitely win her the support of the audience.”

theatreactu.com, Ondine Bérenger, 10 Nov. 2017

 

La Juive, National Theatre Munich

 

“With her flexible, smooth soprano voice, Vera-Lotte Böcker (Eudoxie) is the discovery of the production.”

tz, Münchener Tageszeitung, 28 June 2016

 

“Vera-Lotte Böcker (Eudoxia) is a tremendously gifted talent, brilliant coloraturas, poignant tones coming from the heart.”

Schwäbische Zeitung, 29 June 2016

 

“An agile bel canto can be heard from Roberto Alagna, John Osborn and the brilliant Vera-Lotte Böcker.”

Bayerische Staatszeitung, Marco Frei

 

“Very impressive: Vera-Lotte Böcker, who without further ado interprets Rachel’s rival Eudoxie as Lucia di Lammermoor’s blood sister, with enticing coloraturas like a Greek siren.”

DIE ZEIT, Christine Lemke-Matwey, 30 June 2016

 

“With her captivating creation of the Princess, Böcker has succeeded in offering a brilliant debut at the National Theater Munichen.”

Neue Zürcher Zeitung, Marco Frei, 29 June 2016

 

“Vera Lotte Böcker has pulled off a remarkable Staatsoper debut as Eudoxie, with wonderful coloraturas.”

Deutschlandradio Kultur, Franziska Stürz, 26 June 2016

 

DONNA ANNA, MANNHEIM, KIRCHE ST. SEBASTIAN

 

“Shouts of ‘bravo!’ rang out again and again. They were especially for the soprano Vera-Lotte Böcker. Donna Anna’s aria ‘Non mi dir’ from Mozart’s ‘Don Giovanni’ was almost celestially beautiful. ‘Ma qual mai s’offre’ from the same opera, sung as a duet with tenor Christoph Wittmann, produced goosebumps in the listeners.”

Mannheimer Morgen, Bettina Henkelmann, 23 Feb. 2017

 

VESPERAE SOLENNES, MANNHEIM, CHRISTUSKIRCHE

 

“Conductor Michel did the heavy lifting on the podium. But what is all that in comparison to the beatitude that soprano Böcker puts into her voice in order to downright sanctify Mozart in his mass ‘Vesperae solennes de Confessore’ with a gently glowing timbre. Of an unearthly beauty: the skillful intonation, the nuanced vibrato.”

Mannheimer Morgen, Uwe Rauschelbach, 13 Dec. 2016

 

ESAME DI MEZZANOTTE, MANNHEIM, NATIONALTHEATER

 

“We would highlight (…) Vera-Lotte Böcker, a soprano who, with a beautiful sound, masters all the score’s pitfalls (…)”

FAZ, Wolfgang Sandner, 2 June 2015

 

“One coloratura soprano role is Iris: a librarian of rare and misplaced books, flying in from the ceiling of the cellar, played by Vera-Lotte Böcker, who mastered the high register with confident intonation.”

Die Deutsche Bühne, Sabine Weber, 1 June 2015

 

WRITTEN ON SKIN, DETMOLD, LANDESTHEATER

 

“Vera-Lotte Böcker is a stunning Agnès—also visually—first girlish, then bursting into bloom with a soprano voice that jumps in easily and glows, with no fear of heights and a wide range of styles.”

Opernwelt, Regine Müller, June 2014

 

“The young Vera-Lotte Böcker literally surpassed herself as Agnès; it was a terrific vocal and dramatic performance between vulnerability and vigor.”

Das Opernglas, July 2014