“(…) The belated premiere of Dalinda in mid-May at the Konzerthaus Berlin: a sensation. (…) So much immediacy and emotion was rare. The audience is sheerly out of its mind. Standing ovations are rare in the Konzerthaus. Felix Krieger recommends himself for medium and large houses, as a German conductor he obviously has the unusual gift of bringing the intoxicating piccolo Italianità of Donizetti and Co. to life. An extraordinary evening. ”
Arno Lücker/Opernwelt July 2023

“(…) The bar cannot be high enough: The Berliner Operngruppe and its noble ensemble delivered a stellar hour on May 14 and in the title role an exceptional voice that ambitious stages should be clamoring for: Lidia Fridman. (…)
The miracle of the “Dalinda” evening is that the others do not fall behind this top performance, but increase the excellent level honestly and of high quality, inspire, enthuse. The today rather rare jubilant hurricanes were not an influencer party among friends, but also a defensive initiative against the emotional heat loss and the resource ignorance of many opera houses. In the Berliner Operngruppe, vocal sport and emotions generate an impulsive density of friction.
(… ) With the Berliner Operngruppe, the much-maligned and much-loved score has not a single slack bar; everything develops free of naivety in lyrical-dramatic grandeur that exploits the melodrama with relish without remorse: Congenially involved in this stellar hour are the super-chorus expertly led by Steffen Schubert as well as Dalinda’s lackeys and poison victims acting with elegant fervor (…)”
Roland H. Dippel/Neue Musikzeitung

“(…) In the meantime the group around Felix Krieger is so established that they got the chance from the publisher to do the probably last premiere of a Donizetti opera. (…)
First-class cast, first-class singing (…)
Chapeau and Bravo! (…)
Again a great success for the Berlin opera group, fortunately recorded it remains to hope that the recording will be released as an album.”
Manuel Brug / MDR Klassik

“(…) A coup, realized magnificently beyond expectation (…).
Mad cheers from the bel canto fetishists, to which I will probably also belong(…)”
Kai Lührs-Kaiser/Deutschlandradio

“(…) Do we have to know all this in order to enjoy the frenetically cheered evening? No, Donizetti digs above all into the depths of the mother-son relationship. Mid-twenties Lidia Fridman in the title role is already Donizetti experienced, knows that it pays to think of the end at the beginning of a phrase, so that arrival is also guaranteed.
And then the most pleasing thing for me: when there are passages in which the sonorous bass baritone seems to drag with the tempo, conductor Felix Krieger nestles in without a problem – this is not someone who conducts instrumental music over the heads of the singers, as we often experience in opera houses as well (…)” Harald Asel/RBB Inforadio

“(…) Conclusion: the fiercely acclaimed evening was once again proof that rousing opera evenings are carried by great voices full of character and a passionate artistic director who joyfully animates all participants. We are already looking forward to what we hope will soon be a CD release.”
Dr. Ingbert Waltenberger / Online Merker

” Musically directed by Felix Krieger, the spectacle was splendorous.”
Márvio Dos Anjos , O Globo

“(…) Excellent work was done by German conductor Felix Krieger at the head of the Orquesta do Theatro São Pedro. Under his leadership, the music flowed with the delicacy typical of this work, with precision, with clarity. One heard all the solos (always very well executed), very well marked the instrumental and melodic contrasts created by Strauss between Zerbinetta’s company and the Composer or the tragic singers. Attention for the singers, no one covered and the tempo was fluid (…) May he always come back!”
Fabiana Crepaldi/L´Ape musicale

(…) Once again the best forces were bundled by conductor Felix Krieger to bring the lost treasures over the ramp (…) Standing ovation.
Eleonore Büning, Der Tagesspiegel

(…) The waves of love as well as of music swing wonderfully balanced through the hall, with perfect Italianità this sketchy, melodically blossoming singing inspires. Short, sharp, spirited from the rhythmically piquant overture on, the mood changes after the intermission to the always pleasurable farce “Il Segreto die Susanna” by the German-Italian Ermanno Wolf-Ferrari, who is unjustly heard only so rarely (…). …) This farce rolls virtuously towards its conciliatory end, conductor as well as orchestra, with which na even recognizes many a philharmonic on opera paths, make physical as well as instrumental leaps, have the tonally balanced hip swing on it. This one-act pas-de-deux thus dances extremely entertainingly in the Konzerthaus Kür. After so much Wagnerian nonsense and Mozartian wasteland in Berlin, a real relief. (…)
Manuel Brug, Brug’s Klassiker

(…) But what would the evening have been without Felix Krieger at the conductor’s podium, who knew how to lead his obviously highly motivated, highly professional orchestra equally confidently, inspired and inspiring, through the veristic color opulence as well as through the cheerful transparency of the comedy (…)
Ingrid Wanja, Operalounge

“(…) Felix Krieger conducted the audibly playful Brandenburg Symphony Orchestra in the pit with verve (…) And besides beautiful costumes (…) the great choir of the Berliner Operngruppe also knew how to please (…)” Märkische Allgemeine Zeitung

“(…) Up to the cabaletta of Rita’s opening aria, Krieger began leisurely and thus brilliantly structured with the golden-voiced string section and the winds providing more pastoral glow than ironic wit. Conductor and orchestra prepared for the three singers a little later up to the last vaudeville recapitulation the finely flattering underground (…) Opera can be so topical: Rita or Deux hommes et une femme offers, measured by the small arsenal of characters and the only one-hour duration, a very rewarding and wide field of indignation opposition for today. This reversal of all plot conventions of the operatic triangles of soprano, tenor and baritone, usually resolved by death and grief, is far more than an occasional piece compatible with many hygiene concepts. There was much rejoicing.(…)”
Roland Dippel in the magazine Das Orchester

(…) Again a real cultural “highlight”! If you look for recordings or on the internet, you will find a number of different TV-recordings and CD-recordings of the Rita (ital.) or recently also of the French original version of “Deux hommes et une femme”, but it is indeed no exaggeration if the experienced performance could be rated as outstanding in vocal-musical (as well as scenic) respect. We hope for a live recording! In any case, the audience of the Berlin evening was enthusiastic from the beginning and celebrated the trio of singers, the orchestra and the conductor accordingly – also the directing team! (…)
Olaf Brühl in Kultura-extra

But what would the evening be without the spiritus rector of the Berliner Operngruppe company Felix Krieger (…) He had again perfectly prepared the orchestra for the often perceived as thankless accompanist function in bel canto, led the singers safely through the evening and provided brio, elegance and esprit for pure delight. The special applause of the enthusiastic audience, who did not want to say goodbye to the so long missed art enjoyment, was also directed to him.
Ingrid Wanja in Der Opernfreund

(…) The orchestra of the Berliner Operngruppe under the animated and competent direction of Felix Krieger provided, as usual, top-class playing. He and his outstanding musicians took hold of the “strings” briskly and spiritedly, without therefore disregarding the many instrumental details and concertante subtleties of the lively bel canto score (…)
Dr. Ingobert Waltenberger in the Feuilletonscout

(…) Conductor Felix Krieger, artistic director of the meritorious opera group, creates a cheerful, joyful atmosphere already with the few bars of the prelude, which lasts throughout the hour-long performance. (…)
Peter Sommeregger in Klassik-begeistert

(…) Krieger’s exhilarating conducting draws from both his singers and players some truly sublime performances, full of unbridled enthusiasm. The soloists in particular sing these unusual roles with an emotional ardour that is consistently moving. A beautiful live recording wholly recommended!
22.3.2021, Gerald Fenech in classicalmusicdaily
https://www.classicalmusicdaily.com/2021/03/iris.htm

(…) C’est l’occasion rêvée de recouvrir les richesses de ce chef-d’ouevre du genre, et de reconsidérer enfin Mascagni à sa juste valeur. 23.3.2021,Thierry Hillériteau in Le Figaro
https://www.lefigaro.fr/musique/mascagni-un-chef-d-oeuvre-en-cache-un-autre-20210324

(…) Im rauschhaften Sonnenhymnus, mit dem die geschändete und tödlich verletzte Iris ins Jenseits eingeht, wie auch in den Szenen des Geishahauses laufen Chor und Orchester unter Felix Krieger zur Bestform auf (…) Wie bei deren Aufführungen im Konzerthaus am Gendarmenmarkt Sicherheit, authentische Klangvorstellungen und liebevoll gestaltete Zwischentöne zusammenfallen, hört man in dieser beeindruckenden Aufnahme.
15.4.2021, Roland H. Dippel in Concerti
https://www.concerti.de/rezensionen/felix-krieger-mascagni-iris//

(…) Diese Einspielung von Pietro Mascagnis Oper IRIS gehört einfach in jede CD-Sammlung von Menschen, die Oper lieben und die sich vom Zauber und der Klangmalerei des musikalischen Verismo begeistern
lassen wollen (…) 11.4.2021, Detlev Obens in Das Opernmagazin
https://opernmagazin.de/berliner-operngruppe-cd-neueinspielung-von-mascagnis-oper-iris/

(…) Eindrucksvoll und höchst professionell Orchester und Chor, die es in dieser Qualität leicht mit den drei festen Berliner Opernhäusern aufnehmen könnten (…) Das Erscheinen dieser Aufführung auf CD muss man ausdrücklich begrüßen! 8.4.2021, Peter Sommeregger in klassik-begeistert
https://klassik-begeistert.de/cd-rezension-mascagnis-iris-klassik-begeistert-de/

(…) Aber die Berliner Aufnahme ist auch deshalb sehr empfehlenswert, weil Chor und Orchester der Berliner Operngruppe unter der sensiblen wie klanglich faszinierend aufgefächerten Leitung von Felix Krieger alle Vorzüge der Partitur genussreich vermittelt (…) Empfehlung!
24.3.2021, Dr. Ingobert Waltenberger im Online-Merker
https://onlinemerker.com/cd-pietro-mascagni-iris-live-mitschnitt-aus-dem-konzerthaus-berlin-vom-februar-2020-oehms-classics/

Eigentlich hätten bereits ihre Vorgänger verdient, was nun der vorerst letzten der Aufführungen der Berliner Operngruppe beschieden ist: die Verewigung auf zwei CDs mit Mascagnis Iris. (…)
Das Orchester zeichnet den Wechsel von der Nacht zum Tag gleich zu Beginn des Stücks bruchlos  aus dem akustischen Dunkel aufbrechend und in ein immer reicher und raffinierter werdendes Farbspektrum  nach, in nahtloser Steigerung und schönem An- und Abschwellen des Klangs sich entfaltend. Wunderbar werden im Verlauf der Oper die wechselnden Stimmungen erfasst, besonders das Vorspiel zu Iris‘ Arie im zweiten Akt, ihrer Vision vom Himmel, ist von großer atmosphärischer Dichte (…) 22.3.2021, Ingrid Wanja in Operalounge
http://operalounge.de/cd/oper-cd/mascagnis-butterfly

(…) Chorus and orchestra of the Berliner Operngruppe warm up quickly under the direction of Felix Krieger, already the introductory chorus succeeds excellently (…) Impressive and highly professional orchestra and chorus, which in this quality could easily take on the three permanent Berlin opera houses (…) Peter Sommeregger in the online Merker, klassik-begeistert

(…) This rarity, as strange as it is sensual, has now been very subtly polished up by Felix Krieger with his orchestra and choir.(…)
Manuel Brug in Die Welt

(…) Under the musical direction of Felix Krieger, the multifaceted score unfolds in the most dazzling way (…)
Jochen Rüth in Der Opernfreund

(…) Overwhelming was the impression made by the orchestra of the Berliner Operngruppe under Felix Krieger, who was able to brilliantly convey Mascagni’s multi-layered music with its shimmering string brilliance, the impressionistic-melancholic mood and the indulgent melos. (…)
Bernd Hoppe in Operalounge

(…) The center and soul of this delightful opera evening was once again Felix Krieger, who led his orchestra through the evening as unpretentiously as effectively, conjuring up luxuriant Italianitá. (…)
Opera Lounge

(…) This variety of expression, the constant change from passionate sounds, to chorale-like and then again to songlike, dramatic or seductive ones, the orchestra of the Berliner Operngruppe under the direction of Felix Krieger mastered with bravura (…)
Das Opernmagazin

(…) Right at the beginning, it is especially noticeable how much fun the participants have in this project(…) Apart from the passion, this is also musically really great. Especially the Requiem at the beginning of the third movement succeeds Krieger and his ensemble wonderfully majestically (…)
Tagesspiegel

(…) He (Krieger) conducted Puccini’s EDGAR with great passion and precision through the emotional roller coaster of the opera. (…)
IOCO

(…) No wonder that many singers of the Berlin opera houses sit in the audience and cheer along. No wonder that the evenings of the Berlin opera group are becoming a must for more and more culture enthusiasts. And no wonder that by late summer at the latest, people are curiously waiting to see which opera gem this unique ensemble and Felix Krieger will snatch from half oblivion as winter approaches.
Kultur und Technik

“(…) German conductor Felix Krieger created together with the DIOF- orchestra a dramatic picture of great vitality. (…)” Yonhapnews

“(…) Felix Krieger led an orchestra in great form with taste and character, avoiding smears or disconnections but without losing sight of the narrative: tempos are quick without being hectic, the sound terse, the stage is pandered to with watchful but not servile attention. (…)”
Il discorso

(…) Felix Krieger, on the podium of an excellent Verdi Orchestra that confirmed itself as an excellent company, conducted with great attention to the needs of the singers but at the same time maintaining a certain interpretative vigor (…)
Operaclick

(…) The Choeur Accentus was remarkably luminous and intelligible and the Orchestre de l’Opéra particularly generous in its lyricism under the baton of Felix Krieger. A fine musical feast with very pleasing visuals to flatter all audiences.
Operacritiques

“(…) Conductor Felix Krieger led an electrifying account of Ullmann´s score. A gripping performance.”
Opera lively