Hans Thomalla 

Kaspar Hauser - Reviews

The incredibly beautiful scenes, during which Thomalla circles the words “Nichts”  (nothing) und “Niemand” (nobody) with fragile, often almost inaudible sounds, can be understood as the central moments of the piece. They are its most beautiful ones. "Thomalla proves in this work again to be a vocal-composer of utmost fantasy, power, and quality. 

The work operates on the highest level in regards to compositional technique as it does in regards to aesthetic reflection on music history. The latter includes small historic references, for example to Bach’s tone from the Passions, or to Puccini’s emphatic opera moments, where instrumental lines step out of the orchestra to play along with vocal lines.

[The staging] gives space to music full of thought and beautiful moments. The evening is impressive. “Kaspar Hauser’ is a strong piece.

Stuttgarter Zeitung

 

"The musical language is complex, challenging, and demands a high level of concentration from the listener. But it is worth engaging with it. [...] Highly recommended to visit this deeply touching production."

Badische Nachrichten 

 

"Thomalla, a master of vocal-writing, has created rich vocal parts for all characters, and exposed the main protagonist to a process of cultural appropriation, ranging from consonantic mumbling to an artificial melodic line, which itself has a history reaching far back."

Frankfurter Allgemeine Zeitung (FAZ)

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Physical presence, gestural energy, sign-character – again and again the notes drift towards extremes. A struggle for every sound, every word. Music becomes body, and body becomes music. It is captivating how naturally Thomalla uses well-known chiffres of opera during this 90-minute performance, communicates to the viewer, whithout ever becoming shallow. 

Opernwelt