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Staatstheater Bremerhaven 2019/20


"Die Inszenierung von Max Hoehn machte einen Riesenspaß...Eine wunderschöne Opernproduktion - unbedingt ansehen!"



"The absurdity of the characters was precisely delineated, never coarse...Hoehn retained a balance, knowing when to calm things down and leave space for the music to unfold in all its glory." Opera Magazine, UK


Welsh National Opera 2018/19


"A claustrophobic reading...Hoehn elicited some fine acting performances." Opera Wire


"Still horribly relevant" Seen and Heard International


"It was largely the commitment of the performers, with clear direction together with the projected video footage that made the opera remarkably compelling" Wales Arts Review

La Cenerentola, Nordsee Zeitung


Independent Opera at Sadlers Wells 2015


Max Hoehn's staging identifies precisely the work's ambiguity of tone.

* * * * The Guardian, Critic's Choice for Classical Music in 2015


It burns like acid...Director Max Hoehn subjects every character to an equal degree of satire. In his interpretation Biedermann is cliché of sober-suited mediocrity.

* * * * The Financial Times


"A brilliantly alive staging by Max Hoehn"

New York Times

FT Review, Biedermann and the Arsonists
FT Review, Biedermann and the Arsonists


Revival by Max Hoehn, Welsh National Opera 2020


"Max Hoehn’s direction seems to have fostered a collective spirit of excellence. The sheer joy from the ensemble was palpable, and as a result, the entire piece crackled with humour, goodwill and pure joie de vivre." Bachtrack


"Sparkling revival" * * * *  The Stage

Guardian Review, Biedermann and the Arsonists
Die Presse Kritik, Biedermann und die Brandstifter


Scottish Opera 2018


"Sexual obsession, demon summoning, brawling, cannibalism - hardly a typical Glasgow Sunday afternoon. They were onstage all the same in Prokofiev's seldom-performed opera The Fiery Angel, part of Scottish Opera's Sunday Opera in Concert Series. That description doesn't do justice to this ambitious, almost-staging by director, Max Hoehn, without sets but with virtually everything else, and making full use of City Halls' aisles, balconies and choir seats."  * * * * Telegraph


"a truly remarkable undertaking" * * * * * Herald Scotland

" of the most vivid and memorable musical events of the year"

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The Consul, Welsh National Opera

Khovanskygate | Translation by Max Hoehn

Birmingham Opera Company | 2014

'The nation named in Max Hoehn's demotic translation is still Russia...but we could be anywhere - even here...Crude politics, vivid performances, magnificent orchestral playing combine to exhausting, unsettling effect.' * * * * The Times


'Vick and his translator, Max Hoehn, transfer the power politics into contemporary terms...drawing parallels with extremist nationalist movements in Europe and the religious Right of America.' * * * * The Telegraph


'Max Hoehn's new English version seethes with urban slang...The contemporary echoes are only too evident...But Khovanskygate was a night for the chorus and the people of Birmingham. The cheers were ecstatic.' The Observer


'A logistical, musical and dramatic triumph'

The Sunday Times


'A scintillating new translation' Exeunt Magazine

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