Opera, 01. September 1995
The second act was brightened by Hartmut Haenchen's perfect pacing, the noble, if somewhat undifferentiated singing of Jan-Hendrik Rootering (Sachs) and that astonishing artist Dale Duesing's riotously funny Beckmesser. (...) Haenchen began the final act with a gravity that evoked Montserrat more than Nuremberg, but he shaped the subsequent music with such depth and sweep that for once Sach's final adress did not seem pompous or nationalistic, but really touched by the heart.

Michael Davidson