Opern

Hartmut Haenchen added some expressive appoggiaturas here and there, but in the big Act Two quartet and the final ensemble, one missed authority. Haenchen’s tempi accentuated the limitations of the singers in the slow arias.
Michael Davidson

Die Entführung aus dem Serail was revived with considerably more success than in its first run of performances. Hartmut Haenchen's conducting, so tentative two seasons ago, has gained both depth and energy. The score was given without the customary elisions in the big arias, and the added ornamentation was not only Mozartian but highly expressive.

Hartmut Haenchen’s conducting of the piece has gained both depth and energy. The score was given without the customary elisions in the big arias, and the added ornamentation was not only Mozartian but highly expressive.
Michael Davidson