In her latest staging Nicola Hümpel makes use of strong associations … Schnitzler’s vision of a complete estrangement through our digital selves and societies collective isolation seems to have been fulfilled. Hümpel’s diagnosis is developed into a chamber play – which overpowers, since it’s the characters uttermost intimacy that she’s after… Befitting is the stage by Oliver Proske whose foremost priority is the self-presentation by the characters’ becoming reminiscent of a cabinet of...
Marco Frei, 28.04.2016
Boesmans wrote music for the duration of the “act”… Nicola Hümpel resolves this exceptionally. People sink into mattresses, slip from automated beds and are extraordinarily devoured by each other. On a screen, and at long last the most coherent and unapologetic use of video on stage, are close-ups of their faces. One might catch a glimpse of pure horror, the temporary insanity of lovemaking or the repulsiveness of greed…
Judith von Sternburg, 26.04.2016
… an accessible, open, repetitive and also ironic music, switching almost immediately between pathos and the laconic… Hümpel expands the musical irony scenically lending the highly anticipated premiere an air of lightness… This music theater production is artisanship at its best while precision reigned supreme in the orchestra pit.
Georg Rudiger, 25.04.2016
Schnitzler’s pessimistic “Reigen”, ironized by Luc Bondy and Philippe Boesmans and most recently explored with a light and unconceited touch by Nicola Hümpel, ends not only in cold desires, isolation and despair but with a quiet circling, warmth and emotion. Being propelled, possibly, by love.
Mirko Weber, 25.04.2016
While engaging herself extensively with the atmosphere of the musical score Hümpel is also in search for levity. To which the playfully absurd furniture on stage lends its support… Set designer Oliver Proske has the scenes follow one another fluidly instead of forcing each into its own singularity. Contemporary opera as a crowd pleaser, what a joy.
Michael Stallknecht, 8.05.2016
Nicola Hümpel’s Stutttgart performance was a finely interwoven staging of set design, live video (Judith Konnerth) and recorded film sequences… Oliver Proske’s fascinating and subtly elaborate spaces in tandem with the quirky costumes by Teresa Vergho create a tableau that is delightful and perpetually transforming... Balancing existential gravity, grotesque estrangement and a good sense of humor while staying true to the wonderful music of Boesmans.
Werner M. Grimmel, 26.04.2016
The facial dramatizations are diametric with expressions from grand pathos to irritable disgust. In an utopian backdrop a reappearing film of a dancing couple, happy and free serve the notion that lust and love could be brought into unison. A perception that fades but is not so quick to be swept aside…
Carsten Umlauf, 25.04.2016
The work seems like a flash of brilliance envisioned by Nicola Hümpel who has enriched our scene through remarkable changes in the angles of perception, humor, finesse and a focus on the aesthetically influential use of video.
Mirko Weber, 25.04.2016
Now, finally at the Stuttgarter Opernhaus this ‘Reigen’ can be experienced, discovered…
Jürgen Kanold, 26.04.2016
‘The hour we knew too much of each other‘ truly proves the unbroken phantasmagoric power of the Navigators.
Patrick Wildermann, 03.06.2015
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