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“Everything is floating and in movement, the youth, their origin, their identity. As in real life (...) Thrilling energy are released, choreographed by Anna Holter, water runs also in the atmospheric compact dance‐videos, that are projected at the walls all around the theatre.”

- Barbara Hoydorch, Süddeutsche Zeitung, April 2022

Moving Isolation

“Annas films about dancers during lockdown awarded.”

- Scen och Film, 2021


“Det är en väldigt vacker uppsättning. Musiken är också vacker men också oförutsägbar och nästan hotfull ibland. Anna Holters koreografi är likadan, på ett väldigt enkelt sätt så får den fatt någonstans i det här våldets väsen.”

- Anna Hedelius, Kulturnyheterna live in SVT, 23 November 2020

“Som en saga bollar skådespelarna berättelsen sig emellan, träder in och ut ur roller. Det är ett avväpnande och vackert tilltal, som gör oss desto mer hudlösa för de ohyggliga dåden då de väl kommer. Rikard Borggårds i grunden behagliga musik är oförutsägbar, ibland direkt hotfull. Något som förstärks också i Anna Holters följsamma koreografi, som med enkla medel får fatt i våldets väsen. Regissören Johannes Schmid har renodlat berättelsen och det vi möter är en stilstudie i våldets problematik och ondskans komplexitet. Ingenting är svartvitt.”

- Anna Hedelius, Kulturnyheterna written SVT, 23 November 2020

“Epic theatre. Kompromisslös teater om maktens övergrepp...episk teater utan onödiga samtidsblinkningar...Det är fint att Kohlhaas inte görs till en entydig hjältefigur. Insikten är snarare att när våldet eskalerar finns till slut ingen oskyldig. ”

- Amelie Björck, Aftonbladet, 21 November 2020


“A Thrilling Night With The Vampire In Läckö (...) The show opens with an impressively choreographed Witches' Sabbath.”

- Seen and Heard, 2018

“A horror opera? How thrilling can this be? The answer is, quite a lot! (...) Humour and romance are collocated all the time. With small tools the artistic team is using the location with maximal effectual results. The stage room is limited, but in Johannes Schmids directing and Anna Holters choreographing, there is still room for quite a big ensemble in the most varying constellations. The scene changes are quick and keeps the audience constantly on the toes. A real holistic experience.”

- Göteborgsposten, 2018

Ronja Räubertochter

“The wonderful opera evening lives from the music, the opulent stage design and by Anna Holter - Magnificent choreographed dance settings”

- General - Anzeiger Bonn, 2017

Vom Mädchen, das nicht schlafen wollte

“The choreographer Anna Holter shows with her dancers how high you can reach. Especially the big dance of joy towards the end which is a firework within choreographic possibilities and you don't know what hit you.”

- Michael S. Zerban, Opernnetz.de, 2015

“Brilliant soloists, choir, ballet, stage musicians. 90 min full of surprising conversion, shifting emotions, with fantasy and tempo, humour and romance (...) every picture like a dream from the fish - ballet to the moon.”

- Anke Horstmeier, WAZ, 2014

Die Entführung aus dem Serail für Kinder

“Director Johannes Schmid and choreographer Anna Holter successfully proved a poetic and accentuated story.”

- Christa Dietrich, Vorarlberger Nachrichten, 2013

“The children were so filled with admiration at the premiere this weekend, they could almost not sit still in their chairs.”

- Hanna Pfaffenwimmer, Salzburger Nachrichten, 2013


“Holter smoothly choreographs tension and dynamic contrasts. Brilliant dancers (...) Atmospheric and physical strong dance theatre piece.”

- Gabriella Lorenz, Abendzeitung, 2009

Thema 3

“In Thema 3 the Swedish-born Anna Holter investigates the number three and its spirituality and its magic. Holter creates a dance of attraction and rejection. Inclusion and exclusion. The superb high point of a gripping evening.”

- Florian Welle, Süddeutsche Zeitung, 2008

Echo - From Yesterday And Tomorrow

“Young talent in sight: The Swedish dancer Anna Holter attracted attention immediately after finishing at the Iwanson School in Munich. Now, if not with one of her previous dozen pieces, she demands attention as a serious choreographer with her latest piece.”

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- Malve Gradinger, 2006

“It is certainly not bad to have as much room for movement in your head as Anna Holter does.”

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- Silvia Stammen, Süddeutsche Zeitung, 2006


“A moving, enjoyable piece by Anna Holter - With her second sell-out piece Involved Swedish choreographer Anna Holter, who lives in Munich, presents a touching analysis of how human beings live together. The choreographed encounters, conflicts and moments of high emotion - intensively portrayed by Nadine Gerspacher, Anna Holter, Helmut Ott, Franziska Unseld and Linda Samaraweerová - leave the viewers no chance to distance themselves emotionally. Get involved!"

- Tanzkalender, 2006

"Holter is an obvious talent when it comes to form. Her images are attractive: from the group tableaux for five to those crazy wigs and the anonymous uniforms in carefully selected red, beige and brown; from the tiny movements to the feeling for the entire room at i-camp. It's wonderful to see someone so concerned with their impression as a whole. And she's got energy. She's found a couple of restless girls of her own calibre - off they go like ??? on speed. Those are the best moments: when they shake their fake manes as though they wanted resurrect "Hair". Relax, people!"

- Katja Werner, Abendzeitung, 2005

In-dividuum & 1st Time Told

“Swedish dancer Anna Holter, who is based in Munich and well-known here, has ventured a two-part solo performance. Sequence captivates: While Holter dances toward the background screen, she creates the illusion that the young man projected onto the screen has an emotional connection to her. As he pulls out his mobile telephone, he appears to speak to her. Anna Holter knows how to use video, music (Rupert Huber) and lighting (Karl Schlagenhaufer). She has imagination in movement and a feeling for phrase.“

- Malve Gradinger, 2002

“For several years now, the young Swedish dancer Anna Holter has been dancing in Munich: powerfully, athletically and, at the same time, with a faint touch of being in danger, on the edge, that makes her work so attractive. That is how she appeared in a number of pieces Karen Effenberger, Manfred Kröll, Johanna Richter and - what was particularly impressive - by Mia Lawrence. So too, does she appear in her own choreographies, two of which she is now presenting in i-camp.”

- Katja Schneider, 2002

“Anna Holter, from Stockholm, likes the comparison between choreography and solving mathematical equations. She takes the inspiration for her dance solos from scientific and philosophical texts. Not really something for the purists, but definitely for fans experimentation with various media. In her latest pieces In-dividuum alias atomo and 1st time told, Holter sets the stage with videos, lighting design, club music and a poet - as well as dance, of course.”

- Peter M. Boenisch, Süddeutsche Zeitung, 2002

Zooming - Ein Solo Für Drei

“The Bodv As A Dancing Sculpture.
The Swedish dancer, Anna Holter, has become the great hope of the Munich scene”

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- Peter M. Boenisch, Süddeutsche Zeitung, 2001

“A game of light and shadow
The choreographer Anna Holter puts on a convincing performance at "Theater Und So Fort"

It looks promising: with her piece Zooming Anna Holter shows what a highly imaginative choreographer she is. (...)This short solo piece remains open to interpretation; its images and precise sequences of movement capture the audience. Anna Holter employs stage effects masterfully, in particular, music and a game of light and shadow. Following her successful debut, this young dancer seems to have what it takes to become the new talent of Munich's modern dance scene - A short evening that, with Anna Holter, has a worthwhile discovery to offer.”

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- Peter M. Boenisch, Süddeutsche Zeitung, 2001