Opera Wuppertal, 2015

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

Staatsoper Hannover, 2012

“A firework of crazy jokes and points” (HAZ) “visually overwhelming” (Opernwelt)
“baroque music theatre in a fresh way – this is how it’s done” (Neue Presse)

Oper Leipzig, 2019

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)

Estonian National Opera Tallinn, 2023

“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)

Estonian National Opera Tallinn, 2010

“a wonderful, ambiguous-sentimental evening” (Thüringische Landeszeitung)
“A bittersweet, allusive staging. Unforgettable.” (Thüringer Allgemeine)

Musiktheater im Revier Gelsenkirchen, 2019

“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)

Theater Koblenz, 2020

“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)

Theater Magdeburg (2020)

“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)

Oper Leipzig, 2017

“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)