This is how operetta can succeed today! Or are these the last days of operetta?

"This is how operetta can succeed today." (Die Presse, March 10, 2025)

"A first-class operetta funeral." (Kronen Zeitung, March 10, 2025)

"Harsh boos and applause for Johannes Erath’s direction." (Der Standard, March 10, 2025)

"Great entertainment and even more potential in the clever staging of Emmerich Kálmán’s The Csárdás Princess." (Die Presse, March 10, 2025)

"Jaj Mamäm, this is depressing! No charm, no wit: Emmerich Kálmán’s The Csárdás Princess." (Kurier, March 10, 2025)

"A disruption of conventional understanding was on display—celebrated euphorically by some, yet also met with boos." (APA, March 10, 2025)

"The powerhouse of the evening is Annette Dasch. (…) She conveys the full spectrum of emotions of a strong yet fragile woman with unwavering intensity. (…) Jakob Semotan proves his talent as an entertainer in the role of Boni, while Juliette Khalil brings fiery temperament to Stasi." (Der Standard, March 10, 2025)

"The last days of operetta." (Kronen Zeitung, March 10, 2025)

"The audience, too, was loud in the end: with a mix of cheers and boos, they delivered a fittingly ambivalent final verdict." (Der Standard, March 10, 2025)

"One thing is clear: careful thought has been given here to how operetta can be both modern and classic—neither pandering to current trends nor trapped in mothballs." (Die Presse, March 10, 2025)

"Against this apocalyptic (…) framework, Erath sets Kálmán’s supposedly lighthearted operetta melodies, which serve as a stark contrast—exposing their escapism in the process." (APA, March 10, 2025)