...Nico and the Navigators succeed in staging the experience of being foreign and looking for one's home in this multi-layered performance of Schubert's songs so impressively that no pathos arises... creating a sound universe that comes across as modern, strong-willed and yet sensitive… At the end we hear the finale of Schubert's string quartet “Death and the Maiden” – ringing out so clearly, energetically and convincingly that for a long time the audience has no desire to go home...
Tomasz Kurianowicz, 27.9.2017
…The images come across as highly topical, yet never set up… There were many cries of “bravo” as well as long-lasting applause in the almost sold-out concert hall after a stimulating and exhilarating evening. An evening so multi-faceted that it really isn't enough to experience it only once.
Karin Coper, 29.9.2017
…To be foreign and to arrive, to be desperate and to be safe – such is the subject matter of this finely choreographed evening, staged with great focus by Nico, endowed with brilliant stage and video effects by Oliver Proske, and held in the state-owned concert hall... This is what freedom feels like.
Andreas Montag, 27.9.2017
A recital of associations – limber and yet heavy as lead, with boisterous moments and yet deeply sad, much like reality and like Schubert himself.
Frauke Thiele, 25.9.2017
"Im Gegensatz zu dir" ist ein Konzert mit zarten Liedern und scharfen Texten, ein sehr persönlicher Abend, nachdenklich und humorvoll.
Corinne Orlowski, 14.6.2017
Ein schönes, bewegendes Konzert mit einer Prise Melancholie und einer Menge Realitätsbezug, weil sich Kulp und Schmitz aneinander reiben, sich mit Worten duellieren, ausloten, was so geht. Kulp beeindruckt mit Ungeduld, Kraft und raffinierten Texten, Schmitz mit Stimme und Charme.
Lilith Jogwer, 20.6.2017
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
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