“… 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


“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.”, Andre Sokolowski, 15 Jan. 2019



“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



“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.”, 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.”, 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.”, Ondine Bérenger, 10 Nov. 2017




“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




“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




“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




“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




“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