Hosokawa works with stark, dramatic contrasts, eruptive percussion included. [...] This creates tremendous tension and, at the same time, a fascinatingly sensual effect.
Neue Züricher Zeitung, Marco Frei, 4/7/18
Hosokawa does not merely illustrate the world´s terror in his music. He succeeds with what seems with words impossible at the moment, the ultimate trick, banishing this terror in and through his music.
Süddeutsche Zeitung, Reinhard J. Brembeck, 3/7/18
In its global diction, its Asian-European sensibility and interconnected outlook, the music is fantastic.
NMZ, Wolf Loeckle, 3/7/18
What an urgent, touching, finely dazzling yet magically monochrome dream music [...].
Die Deutsche Bühne, Klaus Kalchschmid, 2/7/18
Starting with individual tones and intervals, Hosokawa opens up spiritual spaces and dreamlike images that point beyond themselves.
Opernwelt, Albrecht Thiemann, 8/18
… clearly told, aurally plausible and full of elaborate sub-surficial references. (…) Hosokawa’s sounds are so finely tuned, they generate a real undertow with timbral sensuality and without hyper avant-garde flourishes. The timbres of the three main characters Claudia, Stephan and Haruko fuse momentarily and immediately disentangle themselves again. (…) In this way the sound links together with the voices on the stage to produce one breathing whole. “
nmz online, Verena Fischer-Zernin, 25/01/2016
A tremendously subtle, tentative drama unfolds in consistent dialogue with the music thanks to the delicate rearranging of the characters in the space; an intense interaction with moments of tension, ultimately a kind of ‘waiting set to music’.
BR-KLASSIK, Jörn Florian Fuchs, 25/01/2016