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LOHENGRIN
WAGNER
ESTONIAN NATIONAL OPERA
TALLINN
“this Lohengrin shows relevance and perspectives for today’s art of opera” (Muusika) “Emptiness darker than music […] a haunting, magical atmosphere” (Eesti Päevaleht) “Dijkema’s vision of this masterpiece is valid and profound” (TMK) “bird bones and ash mountains […] spine chilling drama […] a strong addition to the repertoire” (Sirp)


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L’AMOUR
DES TROIS
ORANGES
PROKOFIEV
THEATER KOBLENZ
“an ingenious theatre setting that for once overcomes the usual separation of stage and auditorium in a credible way [...] extensively celebrated by the premiere audience, an intoxicating all-embracing theatre experience [...] a highly original theatre-feast, which can withstand the comparison with productions by much bigger opera houses” (Rhein-Zeitung)


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ARIANNA A NAXOS / WHAT PRICE CONFIDENCE / L’ISOLA DISABITATA (TRIPLE BILL)
HAYDN / KRENEK
DUTCH NATIONAL
OPERA ACADEMY
“deep despair and loneliness beautifully expressed” (Opera Magazine) “a wonderful performance […] directed by Michiel Dijkema with great imagination” (Trouw) “the more risks the young opera singers take, the more fun it is to watch them” (NRC) “Dijkema’s expert staging brings alive an imaginative triple bill […] riotously funny […] The time flew by!” (OperaWire)


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TURANDOT
PUCCINI
THEATER
MAGDEBURG
“hurricanes of jubilation and sold out performances […] theatrically overwhelming” (NMZ) “wild pictures on the stage, storms of applause for the première - truly great opera” (Volksstimme) “the ending surprises and is consistently executed” (Opernfreund) “touching […] a credible interpretation” (Opernglas)


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SCHWANDA
DER DUDELSACKPFEIFER
WEINBERGER
MUSIKTHEATER
IM REVIER
GELSENKIRCHEN
“masterfully convincing and imaginative staging” (Der Opernfreund) “pure stage magic [...] visionary set design” (Recklinghäuser Zeitung) “The staging is no less than a triumph. [...] up to the last detail affectionate and conclusive directing of the characters, with much joy at creating humour” (Kultur West Magazin) “Dijkema amazes his audience again and again” (theater: pur) “brilliant” (WAZ) “devilishly good! […] Enormeous enthusiasm; thunderous applause.” (IOCO)


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THE FLYING
DUTCHMAN
WAGNER
OPER
LEIPZIG
“A first-class production [...] Gothic Romanticism with impressive visuals” (Leipziger Volkszeitung) “Never have I ever seen anything this spectacular in any of the many Wagner operas I attended […] Total enthusiasm at the end; rhythmic clapping.” (Kultura Extra) “Dark scenes of longing and redemption [...] a psychological portrayal of two damaged souls” (O-Ton Kulturmagazin) “simply overwhelming.” (MDR Kultur)

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IL MONDO
DELLA LUNA
HAYDN
ACADEMY OF MUSIC BERLIN
“fantastic intuity for the absurdity of the human body” (Der Tagesspiegel) “crazy and hilarious expedition into the realm of imagination” (Berliner Morgenpost) “highly entertaining […] a MUST-SEE production!” (Kultura Extra)

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RUSALKA
DVORÁK
OPER
LEIPZIG
“Dijkema ends with a fantastic theatrical image [...] It moves us to tears in its sadness.” (Leipziger Volkszeitung) “the staging is world-class [...] and will write opera history” (Bild) “a witch house, which can stand and walk on two chicken legs, so that the program booklet will fall from your lap out of sheer delight” (Mitteldeutsche Zeitung) 

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DIE ENTFÜHRUNG
AUS DEM SERAIL
MOZART
SEMPEROPER
DRESDEN
“an entertaining Mozart with lots of theater and stage magic” (Sächsische Zeitung)
“very spectacular” (DNN) “a great Entführung” (Neues Deutschland) “tongue-in-cheek and with double meaning” (NMZ) “a fun production with depth” (MDR Kultur) 

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LES CONTES D’HOFFMANN
OFFENBACH
MUSIKTHEATER
IM REVIER
GELSENKIRCHEN
“so catching, so charming, so witty, so dark” (WAZ) “in the past few years I have rarely heard such unanimous applause and so many bravos for a production team” (Der Opernfreund) “a sparkling firework of the most exuberant brilliance” (Recklinghäuser Zeitung) “an absolute MUST for all opera lovers” (Sonntagsnachrichten)

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TOSCA
PUCCINI
OPER
LEIPZIG
“this production is exceptionally beautiful, the set design grandiose” (Bild)
“music theatre of intens emotions [...] overwhelming” (Leipziger Volkszeitung)

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SALOME
STRAUSS
OPER
WUPPERTAL
“impressive [...] enigmatically beautiful” (Wuppertaler Rundschau) “visually stunning [...] standing ovations” (Der Opernfreund) “a demonstration of power” (Opernführer kompakt, Henschel/Bärenreiter) 

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FAUST
GOUNOD
OPER
LEIPZIG
“a powerful visual masterpiece [...] Go see it!” (Bild)
“highly effective and unambiguous statements” (Der Neue Merker)

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LA VIE PARISIENNE
OFFENBACH
VOLKSOPER
WIEN
“Dijkema convinces [...]  zippy personenregie” (Wiener Zeitung)
“elegant staging [...] fun, high-spirited and decidedly slick” (Opera News)

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WINNER WIZARD AWARD
IL BARBIERE
DI SIVIGLIA
ROSSINI
STAATSTHEATER
WIESBADEN
“tempo and colour, humour and class” (Frankfurter Rundschau)
“The young stage director Michiel Dijkema is a discovery.” (FAZ)

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HÄNSEL UND GRETEL
HUMPERDINCK
MUSIKTHEATER
IM REVIER
GELSENKIRCHEN
“Surprising, refined and intelligent” (Der Neue Merker)
“Miracles are taken seriously in a way that can be rarely seen” (Ruhrnachrichten)

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A MIDSUMMER
NIGHT’S DREAM
BRITTEN
STAATSOPER
HANNOVER
“impressive [...] screamingly funny!” (Hannoversche Allgemeine Zeitung)
“virtuoso” (Das Opernglas) “theatre magician Michiel Dijkema” (Opernwelt)

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CAVALLERIA RUSTICANA
& PAGLIACCI
MASCAGNI
LEONCAVALLO
STAATSTHEATER
DARMSTADT
“full of Italian flair and temperament” (Echo) “brilliantly staged” (Der Opernfreund)
“disarming actualization [...] a masterly achievement. Chapeau.” (FAZ)

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DIE ZAUBERFLÖTE
MOZART
MUSIKTHEATER
IM REVIER
GELSENKIRCHEN
“truly a succession of highlights” (Ruhr Nachrichten)
“witty, fantastic, brilliant [...] a fabulous Zauberflöte” (Der Westen)

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ORFEO ED EURIDICE
GLUCK
DUTCH NATIONAL
TOURING OPERA
“a true spectacle” (Twentsche Courant)
“excellent [...] a compelling show” (Theatermaker)

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L’ORFEO
MONTEVERDI
DROTTNINGHOLMS SLOTTSTEATER
STOCKHOLM
“ingenious [...] first class, harmonious impression” (Das Opernglas)
“fresh and full of charm” (Opera Magazine, London) “visually highly poetic” (Opéra Magazin)

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WORLD PREMIÈRE
NAHOD SIMON
ZEBELJAN
MUSIKTHEATER
IM REVIER
GELSENKIRCHEN
“a flood of captivating, also nightmarish images” (Recklinghäuser Zeitung)
“the audience did not stop being amazed” (Ruhrnachrichten)

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