Reviewing Das Rheingold, Kronen Zeitung described the performance as “an impressive evening, with which Heras-Casado makes a promise.” The newspaper praised “the harmonious relationship he has developed with the State Opera Orchestra,” reflected in a sonic dramaturgy shaped by “energy, emotional build-ups and temperament.” The review also highlighted his ability to move seamlessly between large dramatic scenes and moments of chamber-music-like refinement, from Wotan and Loge’s journey into Nibelheim to Erda’s prophecies.
For Die Walküre, Der Standard praised the conductor’s work in the pit, noting that “Pablo Heras-Casado inspired an unleashed performance” and “spurs the orchestra on to vital, precise playing.” The newspaper regarded the result as “a promising basis” for the subsequent instalments of the cycle.
The positive reception continued with Siegfried. Der Standard observed that “conductor Pablo Heras-Casado repeatedly spurs the orchestra on to impassioned bursts of sound,” underlining the energy and expressive intensity of his interpretation.
The cycle reached its culmination with Götterdämmerung, where Kronen Zeitung offered particularly enthusiastic praise. The newspaper wrote that “Vienna’s Wagner fans have not been this thrilled, this delighted by performances of the Ring of the Nibelung in a long time,” crediting Heras-Casado’s “intelligent sonic dramaturgy” throughout the tetralogy. The review highlighted his command of sharp contrasts, surging orchestral textures and powerful climaxes, balanced by “chamber-music-like, lovingly shaped moments” of quiet beauty. It also praised the Vienna State Opera Orchestra’s responsiveness to his leadership, especially in the monumental Siegfried and Götterdämmerung, where he proved himself “a commanding shaper of the music,” creating “touching, frightening, deeply shattering moments.”