"Hagen proves again that he is one of the most important opera composers in America right now.... Bandanna is a poignant, dramatic, and moving new opera, one that belongs in the repertoire not because it deals with the politically hot topic of illegal immigration, but because it is powerful music theater."

"Hagen's contemporary-music bona fides are impressively in evidence, but the popular element is never far off.... The opera's finest moments come when Hagen manages that wonderful, much-sought fusion of highbrow and lowbrow, championed by, among others, Leonard Bernstein (with whom Hagen studied). One of the best examples is an Act I aria for Jake, a local policeman who sympathizes with the immigrants and moonlights by helping them slip into the country. Jake sings of his love for Emily, his fiancée, who he knows feels neglected because of his demanding double life. This sinuous jazz-tinged aria is a slow dreamy waltz that features a smoky alto sax in the accompaniment. Then, as the topic moves to Morales, the volatile chief of police, who lake knows suspects him of professional duplicity, the orchestra becomes dissonant, driving and explosive. As Jake plots his revenge Morales has passed him over for a promotion), we hear snarling trombones and cascades of vibraphone-dominated dissonance. All this is highly dramatic and accomplished seamlessly. Earlier a "double duet" for the four principals shows a great deal of contrapuntal skill and melodic appeal. The orchestration, for a thirty-piece "wind orchestra," creates a distinctively vibrant, ear-catching fabric. The only strings are the violins of the onstage mariachi band; when the three violinists turn up as the sole accompaniment to the Act II "Prayer" for Mona. Morales' wife, the contrast is strikingly lovely. ... The composer conducts the forces of the University of Nevada Las Vegas Opera Theater and Wind Orchestra, who acquit themselves remarkably, in a complex, multi-stylistic and ambitious new work."

"Daron Hagen's opera Bandanna received its European premiere in the somewhat unlikely surroundings of the Parr Hall, Warrington, on 29 April. ... Hagen's vocal writing is masterful. His use of the wind orchestra is equally stunning, to the point where one was never aware of a wind band, but simply of dramatic music. He brilliantly explores the various ensembles within the band, which not only gives the ear welcome changes of colour but also creates a lightness of texture which rarely overpowered the voices. Were the performance given in a theatre with the orchestra in the pit, the balance, which was generally excellent, would have been perfect throughout. The musical language is a very individual one, with Puccini-esque grand gestures alternating with positively modernist orchestration, all in perfect support of the drama. I particularly enjoyed his use of the mariachi band and was deeply moved by the serene final soprano aria set with three solo violins. ... For me, the highlight was to see [the orchestra and chorus] so engaged, with many in tears in the final scene. This was, after all, a modern opera, yet it spoke directly to each and every player and singer. Putting this on with a community band in Warrington was nothing short of insane. After the composer, the hero of the evening was Mark Heron. His vision, determination, organisation, musical brilliance and sheer ambition (for his band, not for himself) gave all present a night they shall never forget. The boundaries of the community band in Britain have been truly shattered and a very healthy audience was there to witness it."

"Bandanna is a banner of triumph! Hagen's descriptive music soars and swells, invoking tender hopefulness in Mona's prayer of faith, while also describing the intense emotions of the distraught Miguel with discordant chord structuring and rhythmic patterns ... this opera should be destined to become a standard in the repertoire. "

"Hagen's masterful score captures the rage, intrigue, and tender resignation of the tale."

"You will find Bandanna's weave most intricate."

"Sonorous, highly-varied, rhythmically gripping, dramatic music; one can scarcely imagine another living composer pulling it off."

"The drama is powered by a strong emotional thrust, most of it conveyed in the form of popular song, and leads to a shattering climax."