“Awe-inspiring. One of the more complicated operatic enterprises to have been attempted since Richard Wagner staged The Ring of the Nibelung in 1876. Hopscotch triumphantly escapes the genteel, fenced-off zone where opera is supposed to reside.”

“A defamiliarizing and ultimately haunting journey through the cityscape. With fantastical dream sequences and arias that describe the existence of parallel universes, Hopscotch is less a traditional plot than a trippy exploration of time and memory.”

“Yuval Sharon’s brilliantly engineered concoction of street theater, animation, video art, installation art, environmental art and, yes, the lyric stage, involved an impressive team of composers, librettists, theater people, tech people, drivers and the occasional stunt motorcyclist.”

“The experience of riding in one of the limousines also mirrors the growing variety of ways in which we encounter 21st century Los Angeles, not as solo drivers but as passengers; this is the common ground for the carpool, the Uber ride and the trip by bus or light rail. The shift from driver to passenger is also a shift from author or performer to spectator, from doing to watching, or from one kind of watching to another. ‘Hopscotch’ touches on that idea in a range of fascinating ways.”

“One of the most audacious cultural events of the year.”

“A masterpiece of logistics and a remarkable fusion of variety and consistency. Hopscotch has broken the fourth wall with a vengeance, not merely freeing opera from the opera house, but making its heightened expression the sound of real, everyday and inner life.”

“Breathtaking. A glorious patchwork portrait of Los Angeles, Hopscotch could be the future of the genre. Immersive, surprising, and decidedly modern.”

“The most intimate opera performance I’d ever experienced. Hopscotch gives Los Angeles a starring role.”

“You are left with a vision so infuriating that it’s beautiful; so disjointed, it somehow makes total sense; so vast, yet incredibly intimate. It’s a production that not only couldn’t be done in any other city, but stands up on an international level as an example of where opera might go in the future. And someday, we may all look back at opera, and see this as a point in time when the opera world began to change and offer performances that reflect our current time without pandering to it. And that could save what for many might seem like an anachronistic form.”

“Site-specific performance at its best. Inspired, massive, complicated, and magical.”

“L.A.’s most anticipated new opera takes place in cars — of course.”

“One of the most comprehensive, expansive and poetic reflections of life in Los Angeles that I’ve ever seen. To experience it is to travel in both actual and fragmented time. To experience feelings of both bewilderment and belonging. To momentarily find a center in a place that will defiantly forever be more of a montage than a snapshot.”

“Hopscotch may be referred to years from now as the project that redefined opera for the early 21st century. The overwhelming impact and uniqueness of Hopscotch leaves you awestruck.”

“After Invisible Cities, I should have known I was in for something challenging, innovative, complex, and epic. I had no idea. Hopscotch fractures everything you think you know about opera, and forces you to stretch your brain.”

“An incredibly intimate and yet infinitely vast experience. Unquestionably meaty in concept, thought provoking in themes and sonics and gargantuan in logistical execution.”

“A theatrical experience that defies description and will blow your mind.”