Hints and tips:
...Marthaler has always been the master of the agonisingly overlong. To that extent, Lulu suits him....
...There is no programme booklet and no explanatory essay to accompany the debut of the Swiss director Christoph Marthaler’s King Size at the Linbury Studio Theatre....
...The Paris Opera’s last brush with Verdi’s best-loved opera was an enterprising production by Christoph Marthaler in 2007 when Gerard Mortier was running the shop....
...A confident producer would play it safe and traditional while a subversive such as Christoph Marthaler would give it a complete overhaul. Meunier’s take is an unsatisfactory half-way-house affair....
...He began to repeat himself with a round of iconoclastic productions by favourite directors such as Peter Sellars and Christoph Marthaler, often conducted by his own longtime soulmate Sylvain Cambreling....
...Marthaler chose his own form instead, avoiding the problem of Handel’s recitatives; in fact, they might have driven the action forward....
...Marthaler goes beyond the obvious comparison, however, and breaks down Elisabeth’s “little dance of death” to build a complex, fragmented production....
...Here, for its last outing, Marthaler – perhaps mindful of mixed reviews in the past – has left directing duties to the young Anna-Sophie Mahler....
...Marthaler’s main joke is to show nerds or misfits attempting cool. A couple sing “Silent Night, Holy Night”, with awkward, amateurish gestures, as if auditioning....
...Marthaler is profound, inane, revelatory, touching and maddeningly childish in turn. His cast responds with discipline and wit....
...Marthaler looks harder at Albert Gregor, her impecunious and besotted great-grandson, and at a handful of interpolated supernumeraries....
...This year’s associate artists are the Swiss director Christoph Marthaler and the French writer Olivier Cadiot; the festival opens with the premiere of Marthaler’s Papperlapapp, a music-theatre piece created...
...Strong as Neumann’s sets are, they lack the fascination of Anna Viebrock’s unforgettable peeling courtyard for director Christoph Marthaler (Salzburg, 1998; Paris 2004)....
...It is extremely well conducted by Peter Schneider, an old Bayreuth hand, but Christoph Marthaler’s anti-romantic staging – set in an impersonal Communist-era reception room, with Tristan dying on a hospital...
...Christoph Marthaler’s anti-romantic staging, designed by Anna Viebrock, is set in an impersonal, Communist-era reception room. There are no sexual allusions....
...A revival of Marthaler’s superb Wozzeck, arguably the finest achievement of the Mortier years, is due next but the message is clear: it’s back to the aesthetic choices of his predecessor, Joel’s friend and...
...Bastille’s acoustical chaos is, of course, all wrong for Wozzeck, which only makes Marthaler’s theatrical impact all the more remarkable....
...Marthaler only alludes to these matters in passing....
...And there’s more to come at the end of the month when Christoph Marthaler, a Mortier favourite, stages Wozzeck with Simon Keenlyside in the title role for the first time....
...Christoph Marthaler’s 2006 staging – a dry, cynical, highly intellectualised view of romantic love, set in a drab 1980s Communist-style public building – needs strong stage personalities to justify itself...
...As with his Marriage of Figaro, Marthaler’s Traviata is festival rather than repertoire fare and will not take kindly to revivals....
International Edition