The first press reviews for KaiserRequiem!

‘It is an evening full of surprises: singers, dancers and choir interact with each other in a way that is rarely seen in music theatre.’ (Kurier, 27.1.2025)

‘Deadly-fulminant ballet evening!’ (APA, 26.1.2025)

‘The KaiserRequiem becomes a medieval-style mystery play: singing, choirs and expressive dance become a theatre of redemption. But redemption means: finally being able to die again!’ (Kronen Zeitung, 27.1.2025)

‘It's marvellous (...) how artistically all the singers integrate themselves into the choreography and how some of the dancers also prove themselves as speakers. The jagged arsenal of gestures demanded of Daniel Schmutzhard (Kaiser) and his aides might make you think of the office work of notorious desk clerks: pointe dancing functions as an obvious symbol of violence. All the more touching is Schmutzhard's transformation and his willingness to die, expressed by Gabriele Aime as a victory of vulnerability, both vocally and dramatically. JunHo You (Soldat) and Aleksandar Orlić (Spital 34) were also particularly impressive. At the end: cheers.’ (Die Presse, 27.1.2025)

‘Meir Wellber leads the orchestra and choir of the Volksoper with tempo and drive. The music is played with precision. Ullmann's music with quirky dance music punchlines has sharp contours, humour and charm (...). The transitions between the works are successful. The Vienna State Ballet and the vocal soloists Rebecca Nelsen, Josef Wagner, Daniel Schmutzhard and Wallis Giunta are convincing.’ (Kronen Zeitung, 27.1.2025)

‘The dance of the Vienna State Ballet, especially the soloists, is so captivating and vivid that the emotions and the story unfold clearly before the audience's eyes.’ (APA, 26.1.2025)

‘Josef Wagner and Martin Winter play the role of Tod (Death). Wagner sings in snappy slow motion, Winter's beautiful movement vocabulary completes the role to become the centrepiece of the evening. (...) Aleksandar Orlic from the Vienna State Ballet has a phenomenal performance as ‘Spital 34’, a combination of dance and spoken performance. And the suffering of Daniel Schmutzhard as Kaiser Overall, who first imagines himself immortal and then longs for deathly redemption, is given the space needed to die by Gabriele Aime.’ (Kurier, 27.1.2025)

‘The Volksoper Chorus was outstanding – it’s wonderful to hear a proper operatic chorus unleashed on repertory like this.’  (Opera Now, gramophone.co.uk, 27.1.2025)

‘The interweaving of the two very different compositions is as credible as the interplay between the Volksoper ballet, the singers and the choir in a cold, rusty stage architecture.’ (Der Standard, 27.1.2025)