Press Reviews       VOYEUR Press Reviews of the World Premiere on July 14, 2004     back    As soon as the dialogue with Wittgenstein arrives at the question of sense experience beyond language, music enters the piece for the first time. It does so in the form of an incredibly dense composition, masterfully played by the ensemble recherche of Freiburg. On this particular evening, the composition’s close integration with video, theater, live electronics, and two voices placed at the other end of the rectangular space - voices that belong to the guest soloists Markus Schwind and Andrew Digby on trumpet and trombone - functions seamlessly. Just how well is demonstrated by a passage in which the instrumentalists, one after the other, suddenly appear at the curtain as spectators, but the music does not stop, moved on by Manuel Poletti’s ghostly electronic hand. Stuttgarter Zeitung And live electronics alternates with live music, sometimes in an extremely surprising manner. At one point, for example, the ensemble recherche, which delivers a beautiful, plastic performance under Errico Fresis (formerly Freiburg’s principal conductor and now a professor of conducting in Berlin), is replaced by a virtual acoustic mirror image, and the musicians turn into mute observers of the scene. It is one of the most thrilling moments in a production of which a lot more good can be said than the Wittgensteinian concept would lead one to suppose. Loud applause. Badische Zeitung The performance of this music by the stirring ensemble recherche under the direction of Errico Fresis is magnificent. Esslinger Zeitung With its web of hints and suggestions, which are primarily intended to be assembled in the mind of the recipient, Voyeur operates in the cinematic tradition of Kurosawa’s Rashomon, Hitchcock’s The Trouble with Harry, Antonioni’s Blow-up, and above all the films of David Lynch. Frankfurter Allgemeine Zeitung Voyeur is not least a plea addressed to the fantasy of every individual. ‘There’—Mainka seems to demand, together with the novelist and the philosopher—'there, pick out whatever catches your eye and ear, and put together your own realities.' There is not one single truth, or to put it in Wittgenstein’s terms: for every person, the world is everything that is the case for him. What a wide and open space for music theater. Stuttgarter Nachrichten
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