New production "Eugen Onegin" at Staatsoper Unter den Linden and FREYER-ENSEMBLE

FREYER-ENSEMBLE bei "EUGEN ONEGIN" an der Lindenoper


Das Freyer-Ensemble bringt die theatralische Körperspannung und Präzision in teils zeitlupenhaftes Geschehen ein. Es sind die Füße der Schauspieler, die sich regelmäßig gen Himmel rekeln, aus dem zwischendurch Stühle purzeln.
Volker Blech, Berliner Morgenpost, 29.09.08

Solisten bewegen sich im Zeitlupentempo über die schräge Spielfläche, die Artisten vom „Freyer Ensemble“ umspielen sie
Frederik Hanssen, Tagesspiegel, 29.09.08

Ergänzt wird er durch das gleichsam als pantomimischer Taktgeber für die szenischen Loops fungierende Freyer-Ensemble.
Deutschlandfunk, Georg-Friedrich Kühn, 28.09.08

Der Berliner Regisseur und Bühnenbildner Achim Freyer präsentiert mit seinem interdisziplinären Freyer-Ensemble seine Sicht auf das Werk.
Morgenpost, Vorankündigung, 25.09.8



Ab & An - for Morton Feldman

"The grandiose Freyer-Ensemble performs […] a rigorously stylized slow-motion choreography. Smallest gestures become major sensations in this minimalist art and performance space; one quick movement translates into a devastating catastrophe. The space between words and actions is filled with tension and leaves room for ones vivid imagination to sneak in. One's sense of experienced time and real time disintegrate; after seemingly 5 minutes, 15 minutes have passed already; a strong experience of transparent sensations. Long applause."
Die Deutsche Bühne 

"[.] Neon tubes hang all over the space, their electric cables appear like strokes of a brush in a huge painting [.]. The piece has no beginning and no end; it could go on forever or only last five minutes [.]. In his premiere 'Ab und An - for Morton Feldman', Achim Freyer depicts his own artistic universe while staying close to the ideas of Beckett and Feldman [.]."
Die Welt

"Feldman's minute early piano composition 'Intermission 5' provides the sound score for 'Ab und An', perpetually repeating dream chords, which measure the space acoustically without any drama. The visual counterpart is a plain stage, where painted outlines on the floor, hanging neon tubes and their electric cables create a strange system of coordinates. Within this system the eight performers of the Freyer-Ensemble move like mounted caterpillars. At times they turn or twist, take on daredevil contortions, pull the electric cables or blankly stare into space. Any attempts to escape remain pointless or end in mechanic movements - just like the added in Beckett-words."
Süddeutsche Zeitung



"We laugh, because everything is overdrawn. It could not be more conclusive and precise.”

"Freyer created a funny and distraught version of the Magic Flute, brilliantly performed by his ensemble and the two piano players."

"An excellent evening. This kind of performance between music, dance and theater only is possible, because Freyer can completely rely on an ensemble without any weak spots." Mannheimer Morgen

"These virtuous performers deserve credit."
Die Rheinpfalz