STAGERic Schachtebeck
COSTUMEJulia Rösler
LIGHTHartmut Litzinger
WITH:Michaela Maria Mayer
Hrólflur Saemundsson
Andreas Macco
Leila Pfister
Randall Jakobsh
Katharina Bergrath
Pawel Lawreszuk/Jorge Escobar
Sinfonieorchester Aachen
Photos: Wil van Iersel

“The opera ‘Pélleas et Mélisande’ in Aachen is a triumph of the much-maligned municipal theatre, for what can be seen and heard there in the province cannot be called provincial at all.

(…) Eva-Maria Höckmayr takes an innovative approach and questions the play. (…) She leaves no situation uninterpreted and is able to motivate the ensemble to play so densely and intensely that the evening always remains exciting. Giving talented people such challenges and discovering directors of tomorrow has always been the task and opportunity of municipal theatres.”

FAZIT, Deutschlandradio Kultur, Ulrike Gondorf, 25.10.09

“Eva-Maria Höckmayr has achieved nothing less than to give me, and I believe also many colleagues and spectators, a completely new view of this piece. (…) Those who always thought ‘Pelléas et Mélisande’ was a completely undramatic opera are proven wrong here. A very successful mixture of horror fairy tale and psychoanalysis at its best. (…) This piece is very well thought out down to the last detail and excellently staged: Eva-Maria Höckmayr, this is a name to remember.”

MOSAIK, WDR 3, Stefan Keim, 26.10.09

“Eva-Maria Höckmayr, a highly gifted young director, delivered a work choreographed on the drawing board that often manages magic in the tightest of spaces. (…) In this necropolis of the living – led by Grandfather Arkel, the encroaching psychopath – the lid has already closed on all of them in the first bar; their fates are sealed. The opera only sings about how the air is getting tighter. Höckmayr makes the gasping become an image.”

Rheinische Post, Wolfram Goertz, 27.10.09

“Fascinated audience holds its breath. What the young director Eva-Maria Höckmayr has come up with for Debussy’s symbolist opera is pretty wild. (…) However, this is ambitious fodder for the brain. The director draws the characters with virtuoso differentiation. (…) At one point, the ruling family is seen obliviously caressing their pets – dead, stuffed animals from the forest. This is bizarre as well as to the point. And it shows Höckmayr’s great talent for inventing true images.”

Aachener Zeitung, Armin Kaumanns, 27.10.09