'Lackner is a sensualist and opportunist, whereas Rotter is concerned only with is political career, no matter which way the wind blows. He is a kindred spirit of Heinrich Mann’s ‘Man of Straw’. Rotter who grew up in the Weimar Republic in straitened circumstances, serves the Nazis just as he served Weimar socialism. Although he survives an attack of schizophrenia that nearly cleanses him, he cannot escape his nature and battles on … Brasch had the story of a particular man in mind, yet the general background of German history is critical. The scene with the sexually willing Elisabeth, in which Thalbach imparted outlines of Hitler to the repressed Rotter, was one of the many allusions and associations. Momme Röhrbein’s unit set, a railway station, a symbol of coming and going, was filled by Thalbach with many powerful images … the visual power of her work is seductive.
Torsten Rasch, a native of Dresden and composer of the cycle Mein Herz Brennt, devoted himself to film music during the many years he spent in Japan, and the genre’s influence can also be felt here. He is never afraid to hark back to tonal expressiveness, and his music is often attractive and easy to listen to.’
Opera Magazine (Thomas Lluys)Torsten Rasch, a native of Dresden and composer of the cycle Mein Herz Brennt, devoted himself to film music during the many years he spent in Japan, and the genre’s influence can also be felt here. He is never afraid to hark back to tonal expressiveness, and his music is often attractive and easy to listen to.’