"Béatrice Lachaussée has created a light, subtle production in Radebeul that intimately illuminates the actors and their passions. “ Dresden Latest News - Nicole Czerwinka
“Max Frisch would have enjoyed watching the staging by the young stage director Béatrice Lachaussée: In the Hall of the Semper Depot, Ms. Lachaussée built a huge coal producing machine: the Biedermann couple sits there from the beginning on a heap of coal, still without recognizing the fire danger they put themselves in.”
ORF Ö1 RADIO MORNING JOURNAL Wednesday, September 18, 2013
„Béatrice Lachaussée and her Team managed to make a splendid debut with a tasteful and stringent stage direction in the style of the 1930’s. In the spacious Semper Depot, she created great atmosphere utilizing little means but with substantial and exact character direction.“
WIENER ZEITUNG, Daniel Wagner, 18.09.2013
„Along with the classical elegance of the 1920’s costumes (Nele Ellegiers), the stage design (Dominque Weisbauer) was strongly impressive as well as integrating harmonically well with Semper’s architectural language, very precise the drawing of the characters (direction: Beatrice Lachaussee): woman holding the stage powers!“
„A very fine affair.“
THE STANDARD, Stefan Ender, 18.09.2013
"Director Béatrice Lachaussée perceives the piece consequently as drama the innocent imagination. /.../It’s not a disenchantment but reveals how magic works."
FRANKFURTER ALLGEMEINE ZEITUNG- Patrick Bahners, 21.12.2021
"Firstly, she directs Hänsel and Gretel exactly on the music. This match convinces through the ligthness given to the opera here in the Staatenhaus hall 2, as the music supports the action every single moment. /.../
If only Humperdinck could have seen and hear that!"
LIVE IN DER OPER- Matilda in der Oper, 20.12.2021
“At first glance, La voix humaine and L’heure espagnole are not the most obvious combination. A deeply human drama about the end of a relationship coupled with a trifle about a lusty housewife seems asking for trouble. But that is beyond the inventiveness of director Béatrice Lachaussée and dramaturge Willem Bruls. They recognize a universal yearning for true love in the two female protagonists and smoothly wrap their staging around it.”
THEATERKRANT - Thea Derks, 15/11/2020
“Here too, the Franco-German director Béatrice Lachaussée, with a masterly hand and a keen eye for detail, managed to make the action flow from the text and the music.”
DE LIMBURGER- Maurice Wiche, 15/11/2020
«The conflict between two cultures, unknown to eachother, was told mercilessly and concisely, as well as the weaknesses and illusions of all actors were illuminated in a judgement-free manner - that was just as coherent as it was thrilling - that’s what an opera production should be like.»
DAS OPERNGLAS, J.B Report, 03.2019
«Director Béatrice Lachaussée tells the plot without unnecessary ingredients and without a moral finger, and still owes the work nothing.»
WESER KURIER, Wolfgang Denker, 27.12.2018
«Comic, full of poetry, surreal at times, so the ballet of nightmarish situations alternating for the child.»
DER OPERNFREUND, Michael Cramer, 27.09.2016
«Beatrice Lachaussée gives importance to authentic characters. Nothing in this staging is bordering on boredom or banality. The ballet of the flowerpots is exquisite, the entry of the poetic circus troupe, full of fantasy and crazy.»
AACHENER ZEITUNG, Armin Kaumanns, 06.06.2016
«This production attains life and colour through the precise directing of stage director Béatrice Lachaussée»
OPERNGLAS- C. Fischer, 03.2016
„Béatrice Lachaussées stage direction of „Jakob Lenz“ in the Trinity church is the highlight of the opera season.”
“As regarding the place, its adequacy as a performing space is now well established – providing that someone knows how to handle it with fantasy and in depth as Béatrice Lachaussée and her stage designer Nele Ellegiers have done.“
“Lachaussée makes the link between the church as a spiritual place and as a secular subject as the representation of an artist and creative drama between genius and madness with meaning and without strain.”
"And similarly as the character direction always continually intensifies into new sensual, vivid and powerful tableaus."
KÖLNER STADT ANZEIGER, Markus Schwering, 24.03.2014
“How one gets to the core of a piece by giving up superficial opulence was well demonstrated this weekend at the Cologne Opera in a new production of Wolfgang Rihm’s chamber opera “Jakob Lenz” at the Trinity Church. The young stage director Béatrice Lachaussée used the unusual performance space in an ideal way, by transforming the whole church nave into a stage. A narrow path divides the facing audience rows and leads literally like a fatal ridge from the desk to the altar, from the bed to the pulpit and finally, at the very end of the church, up to the grief cliff, from where the poet who has gone mad will fall into the abyss.”
FRANKFURTER ALLGEMEINE ZEITUNG, Christian Wildhagen, 01.04.2014