The Hungarian press dealt extensively with the performance, appreciating and ably describing just how unusual the staging of the piece was. As the excerpts below show, Hungarian critics were mesmerized by the wise joie de vivre of Zerbinetta and the dynamic on-stage presence of Anna-Lena Elbert, who brought the character to life.

Miklós Fáy: The Indelicates, faymiklos.hu, September 9, 2024 (in Hungarian)

“And then along comes Iván Fischer, and he, too, realizes that there are not enough musicians. He gives an anxious wave to summon more of them. They come, we laugh and they being playing. But not the opera! And not only are they playing music: there are also mimes, who run around, skip in the air and pass out light-blue headdresses, with even the conductor receiving a hat. And there are now more and more of them. As the fun continues, even Iván Fischer backs off, and they lay him down on an artificial rock, for him to continue conducting while on his back. And he dances; the others, too, are having a ball. When can you ever hear the suite Le Bourgeois gentilhomme with the first violinist playing his music while sitting on the back of a guy on all fours?”

Katalin Fittler: She Came, She Saw, She Conquered – A Visit to Naxos at Müpa Budapest, Gramofon.hu, September 11, 2024 (in Hungarian)

“I chuckle quietly at the definition of ‘staged concert,’ because thanks to the minimalist set and the clever costumes, we are actually treated to a full-fledged stage experience even in terms of the visuals. And it is worth noting just how much the props contribute to the experience: the hats, which the frolicking singers doubling as outstanding actors and the actors blessed with supreme acrobatic skills place on the heads of the orchestral musicians, also broadcast the “message” that those making the music are equal partners in this game. (And the fact that in the meantime, the orchestra was producing a superbly composed interpretation is testament to the outstanding skills of the musicians of the Budapest Festival Orchestra. This latter point, however, based on the experiences of the last several decades, is hardly surprising.)”

Zsuzsanna Rákai: Challenging Relations, Élet és irodalom, September 13, 2024 (in Hungarian)

"In terms of music and stage movements, this was a very nice production: the marketplace pantomime of Zerbinetta, Truffaldin and the others; the short skits of the members of the orchestra imitating either stunning virtuosos or street musicians begging for money; playing with the sets of the opera; the gradual set-up of the stage – all of these worked well, even despite the fact that the colorful and sarcastic suite, comprised of accompanying music, is actually essentially lacking any dramatic composition."

Agnes Kory: Ariadne auf Naxos is presented in an unusual and highly innovative form by Iván Fischer in Budapest, Seen and Heard International, September 18, 2024

"Fischer is fully involved in the fun of acting. At one point he is lifted by the two actors, is carried horizontally for a few steps and then he is lowered down to lie fully covered on a low sofa during which time Fischer continues to conduct first just with one hand poking out of the cover but soon followed by a whole arm. There are a few bars when the orchestra plays without any conducting. For his solo in the last movement, the solo cellist sits on Fischer – although hopefully this is a visual trick, not the reality – while playing from memory to high standard. And, to complete all imaginable stage skills, Fischer also jumps and dances at appropriate dramatic moments."

Gerda Seres: Excesses to Love, Where Everything is Allowed, Kultúra.hu, September 11, 2024 (in Hungarian)

"In the changing scene, Anna-Lena Elbert demonstrates not only her stunning courage as an actress, but also sings her difficult parts with incredible ease. This scene is a true achievement, and one in which the singing and the impressively composed stage performance reinforce one another. The orchestra is always precise and plays well, and is perfectly in tune with the events on stage."

Dávid Müller: Ariadne Halfway to Naxos, Momus Café, September 12, 2024 (in Hungarian)

"It was a perfect depiction of how the character of Zerbinetta mocks Ariadne’s suffering. At the same time, she describes how men had used her many times over, and how she was able to move on; as a good little sister, she would try to lead Ariadne to see the beauty in life and to the recognition that there will be other men. In this interpretation, Zerbinetta is almost like a psychologist or, rather, a life coach, serving as a true counterbalance to the tragic intentions of the title character. The direction also favored Elbert very much: likely thanks to contemporary operas, she is capable of exceptional movement and dance for an opera singer, and she was able to show this off both in the suite and in the opera, adding further richness to the character of Zerbinetta, who is able to move past her own dramas easily. Her monologue was addressed not only to Ariadne, but as a piece of universal advice also to the audience – displaying an accepting half smile, almost like The Marschallin in Der Rosenkavalier."

Barbara Vági: What Does a Woman Do When Left by a Scoundrel?, Origo.hu, September 14, 2024 (in Hungarian)

"Her performance of this highly challenging and very long aria is stunning. Nothing but ease, charm and playfulness – as though she were singing some simple children’s song; yet this aria happens to be one of the most difficult pieces in opera literature. And not only does she sing it: she also changes on stage, smiling throughout, with her character loving life. Just as Anna-Lena Elbert loves the role of Zerbinetta. A virtuosic 25-30 minutes that we are privileged to witness. I think I have just seen one of the best Zerbinettas in my life."

Máté Csabai: Seriously Unserious, Magyar Narancs, September 18, 2024 (in Hungarian)

“We were so enthused by the performance of Anna-Lena Elbert, a soprano from Munich, shining brightly in the role of Zerbinetta. During her twelve-minute-long aria (Großmächtige Prinzessin), she undressed, changed and not least of all sang perfectly – as anyone able to pay attention to it would notice. The voce, which is perhaps slightly thinner, would come in second compared to Kathleen Battle, Edita Gruberová or Karola Ágai, but then and there we were left demanding that she keep singing more – more about love, men and starting over.”