‘Heijboer Castañón and Winokur offer no drastic interventions in the plot, just a delicate understanding of it as a tale of intimacies, friendly and erotic alike.’                      ‘There is a refreshing feeling of trust to it all, a sensible desire not to get in the way of what clearly remains to these young collaborators a basically human story — and a willingness, perhaps above all, to make space for the music.’

The New York Times

‘Stage co-directors Zack Winokur and Lisenka Heijboer Castañón bring the human dramas vividly to life.’

Dallas Morning News

‘Santa Fe Opera’s bet on ‘Tristan und Isolde’ pays off’

The New Mexican

‘the makers of I Have Missed You Forever succeeded very well in creating a place where dreams and nightmares coexist. It’s as if everything that has happened, that is happening and that will ever happen is shown to us all at once. This is confusing and exhausting but also exciting and thrilling.’


‘Director Lisenka Heijboer Castañón and conductor Manoj Kamps create a coherent whole from these disparate tales. Every collective creation faces dramaturgical challenges — whose stories get cut for the sake of form? If you err on the side of inclusion, you risk ending up with something long and shapeless. Although this happens with I Have Missed You Forever, the work impresses with its polish, professionalism, strong performances and poignant moments.’

Financial Times

‘If there are gods in the world of opera it is the directors. How things can be done differently is proven by the team of I have missed you forever.’


‘A miracle took place at Dutch National Opera, Faust [working title] is a celebration of imagination, sparkling with Felliniesque finesse’

★★★★★ Trouw

‘Faust [working title] is an important contribution to the renewal of the genre of musical theatre: away from the museum right into the middle of social actuality.’

★★★★★ Bachtrack

‘The applause may sound less loud (corona, so no full theatre), but it does sound long and it is genuine. Rightly so, because with “Faust [working title], the Dutch National Opera created a production one can only admire.’

Noordhollands Dagblad

‘An die Ferne was artfully and lovingly created, with great attention to detail’


‘Vrouwenstemmen is a blissful joined effort of makers and performers, in which everyone and everything seems to have fallen into exactly the right place. The enormous efforts they have undoubtedly made don’t translate into an accumulation, but into quality.’


‘It is the interplay of themes, music and performance from which opera, and above all this opera, derives its right to existence. Beyond any activism, pamphletism or lists of demands.’


‘the Grachtenfestival chose to program a women themed festival this year in order to celebrate women in the field of classical music but also to draw attention to the inequality that still governs our world. In the opera Vrouwenstemmen this was made painfully clear.’


‘a festive evening full of unique performances’

Vogue NL

‘finally a gala with class’