Press

A sparkling, funny, vintage, elegant and musically so successful nugget. . . KØUPLES is to the mischievous and unexpected. A very nice work by Stephan Grögler and his whole team. That's excellent! Bravo!

Gerard Lecointe Théâtre Renaissance OULLINS March 2019

Køuples is a thrilling trilogy about the case of the couple "with water - crossed out - in the gas. . ." A show sung to perfection in the spirit of a super energetic opera, Køuples would be a Feydeau under hallucinogen, a pop-art vaudeville, a crazy machinery set up like a Swiss cuckoo clock

Didier Lamare, Demi-Cadratin.fr

These three small operas are brilliantly performed in all their aspects: music, aesthetics, choreographed staging, interpretation. Congratulations to Gaëlle Méchaly and her partner Ronan Debois, to Nicolas Farine real "Fregoli";. . . What fun to see the atmosphere of the 60s and 70s revisited both by the costumes and these commercials from the 60s to the 70s. The mischievous "praise of tobacco"; in "Le secret de Suzanne"; which closes the show with a small note "politically incorrect"; adds an

Yannis Kokkos, stage director and set designer

Brio, intelligence, humour,. . . Dexterity in the staging and sensitivity in the interpretation,. . . . All the ingredients were there to surprise and delight.

Anne Saint-Dreux, direction Maison de la Pub

Profane, we discovered a first approach to opera through this excellent and innovative show full of subtleties and rich in references to the culture of the 70s. A superb vocal and stage performance with the artists. As for the staging, it is full of technical innovations and visual and sound originalities. An opera finally within everyone's reach!

Frédérique et Stéphane E

Kouples immerse us in this past so close with delicacy and inventiveness. Musical vitality, vocal virtuosity, humour, nostalgia and a few sound and visual « follies » » are on the menu of this and should be used by all of them without moderation.

Alexandros Markéas, composer

I wanted to thank you and congratulate you for the delicious show that the Agora High School's group (2d class) attended on Friday evening. I wish KOUPLES all the success that your talent deserves!

Laure Boissier, teacher in the Agora Hight School

The idea of this Opera was original and pleasantly surprised us. The set with its video-screens adapts well to the stories of the 3 operas, the elaborate, colourful costumes that plunge into the 1960s and the advertising of the 1970s, like the commercial of that of Mr. Clean (still used at home) was very clever and beautiful. We also liked the very pretty parts of the piano that illustrated the situations and the actions on stage,

The pupils of the Agora Hight School

Thank you for this beautiful show. It was the first time I had seen a lyrical performance as it is customary in the theatre with the same energy and lightness . I appreciated that we could hear this repertoire in this way with this humour, this proximity and this artistic quality. . . I know that the singing teacher who was present was very happy that his students saw the show. Mahaut Rabattu, Theater teacher in Issy les moulineaux High school of music

Mahaut Rabattu, Theater teacher in Issy les moulineaux High school of music

A surprising, inventive and funny show that my 5 year old son and I listened to with great pleasure. The lively and colourful staging highlights the accessible and playful musical work. A great time!

Alexandra T & Léonard

Congratulations again for this beautiful and beautifully conducted show. The trio works very well, each one playing his role with accuracy and brilliance. Congratulations to Stephan Grögler for the conception and the shaping of the show, very lively, fun and sophisticated in his crazy stuff way.

Marc Desmond, viola solo of the Paris Opera ; conductor

An ambitious programm … The space seems want to tell more than the twilight reveals. Even if one sits as a spectator passively in the dark periphery of the bright island, one is in the middle of it. Instead of names here there are sounds. Upwards instead of gravestones anonymous lamp ball bars. Kind of will-o’ the wisp in the darkness; it is a garden without Eden.

Marianne Mühlemann, Der Bund

Lorenz Hasler and his ensemble with the enchanting soprano Gaëlle Méchaly performed with a high sensitivity . . . a subtly selected and arranged repertoire.

Olivier Meier, Berner Zeitung

Instead of a sudden shock, we are encouraged to think and feel all the intrinsic beauty of this music. This is surely the most beautiful tribute that « us » the post-war generations can give to the victims of the Nazi regime.

François Lilienfelfd, Ensuite, Zeitschrift zu Kultur und Kunst/ April 2015

But how do you represent art in hell on a theatre stage? Stephan Grögler probably did the impossible. We are seized, shaken, sometimes even enthusiastic about his staging. Als Ob. . . suggests terror, but unlike a film like R. Polanski's "The Pianist"; or « The Ghetto » of Sobol violence is never shown, it is only suggested, which leaves much deeper traces.

François Lilienfelfd, Ensuite, Zeitschrift zu Kultur und Kunst/ April 2015

The most astonishing thing about this evening is the total symbiosis that exists between Gaëlle Méchaly, who has a strong personality, and I Salonisti, this ensemble that has been formed for so many years, a communion that they have acquired during rehearsals but also thanks to their artistic maturity that allows this unity on stage.

François Lilienfelfd, Ensuite, Zeitschrift zu Kultur und Kunst/ April 2015

Gaëlle Méchaly plays the role inimitably. The depth and diversity of the emotional expressions she depicts is indescribable. An incredible voice capable of modulation, from outcry to the most breathy pianissimo in the concluding lullaby, from folk song to art song. The artist has

François Lilienfelfd, Ensuite, Zeitschrift zu Kultur und Kunst/ April 2015

A 90-minute program that gets under your skin. It's incredibly deep, this particulary atmosphere. . . says a spectator And a woman adds It was beautiful. I was very agitated, I almost had tears"

Matthias Haymoz, SRF Regionaljournal

Vivats pour la Mamma The production takes us behind the scenes in a surprising light. A day that will decomplex for a long time the neophytes who would feel somewhat crushed by the weight of the golden paneling of lyrical art. . . . Nothing here is quiet, luxurious and voluptuous. Everything is crazy, shoddy and catastrophic. This outraged desacralization, coupled with a delirious mise en abyme, fortunately does not prevent the magnificence of the interpretations and orchestration.

Midi Libre

Opera and comedy. And what a comedy! Decorative chords. For a buffoonery to have a certain depth, the decoration must not lack depth either. With Viva La Mamma we are served, and largely: For the first act, the rehearsal of Romolo and Ersilia" the stage is transformed into a warehouse for new products (lack of theater, renovation) with all that this implies: wobbly crates, scrap metal wardrobes, plastic curtains, immaculate tiles and cold meat quarters.

Midi Libre

This atmosphere, a little pale, is followed in Act Two by the heady warmth of the renovated theater. The decoration all in soft kitsch, soft upholstery columns and twisted stairs evokes peplum. . . but in its Michou-kitsch-version! Add to that outrageous costumes and you will have understood that this opera seria will have a hard time keeping its seriousness.

Midi Libre

Logically, the two hours of this opera buffa are hilarious. Especially since the spoken texts does not lack fun either: the surtitles comment on the unfolding of the piece, translate what it likes (and not what it is sung) and often slip into anything jubilant!

Midi Libre

Viva la Mamma! . . . . all this is very well done. A pastiche that is well worth the foie gras of the end of the year. Viva la Mamma!

Le Canard enchaîné

Stephan Grögler wanted to force the note and make this creation even more unbridled. A Mamma more truculent and burlesque than ever. . . when the Mamma takes over Casta Diva we laugh with an open throat, we love the singers' pirouettes and vocalizes, we let ourselves be carried away. In the end a triumphe. Stephan Grögler has succeeded in his bet. Finally, we had a comic-belcantist firework display unless it was a lyric therapy from which the public greatly benefited.

Opmuda

Viva la Mamma! from uproar to opera. A crazy show warmly prolongs the end of year with an updated opera buffa . . The renewed favor for the offbeat kitsch suits Viva la Mamma well. . . . Between Mel Brooks and the Marx Brothers.

La Marseillaise

A stroke of genius in Vienna's fourth opera house. One of the most successful creations of recent years.

Presse

Stephan Grögler has revived the morbid atmosphere, very much marked by the bigotry of the play The Black Spider.

Echo

A great show The audience is plunged into darkness for a long time, then small, almost unreal lights gently light up behind a black tulle. A hill of bulbs then appears like a starry sky, on which Niobe sits in a suit all in light. The protagonist moves with economy but her journey on stage is decisive and contiguous to the musical drama, and is accompanied by changes in the atmosphere of light, as well as by the movements of luminous objects.

Neue Zürcher Zeitung

Two times seven bundles - poles evoke the fourteen brothers and sisters. They emerge from the ground or descend from the sky. They're going to be murdered, extinguished. In an abstract but fascinating way, the scenic installation clarifies the subtext of this work's great expressiveness. A staging with images of a confounding force. These two dramas are creepy.

Neue Zürcher Zeitung

It all starts in total darkness. The voices open the show, instruments of the rite. Twelve small lamps, just as there are twelve voices in the choir, light up and gradually rise and disappear. From the beginning, we are well in an act of religion, and we believe, without any other representation, in the offering to Léto. Then Niobe appeared, in a kind of luminous dress topped with a proud headdress.

Anaclase.com

Her face remains in the shadows, the character then being defined only by her outlines and her superb appearance. On stage, a multitude of bulbs are lit, like sacrificial gifts of light to Léto. Niobe has taken his place in the middle of this field of offerings of the women of Thebes, and holds his arrogant speech. Light tubes rise from the ground or descend from the heavens, like bars in the prison of sufficiency in which Niobe locks herself in; they are fourteen, like her children.

Anaclase.com

As soon as Léto begins to take revenge, the lighting changes, becoming more and more whitish, and five columns lean, suspended in their fall. The blisters weaken, then go out. They become, illuminated by a cold metal light, they become drops of water that dull to form the rock of Sipyle, the rock of pain so many mineral tears.

Anaclase.com

Niobe's dress died out, and the one who wore it, in her tragedy, found a face, a skin color, a humanity that her destiny didnt offer her. A high quality show, and it is hoped that it will be performed on other stages in the future.

Anaclase.com

a breathtaking scenery. The contrasting stage spaces create magic. The vain queen questions herself, freezes in her extraordinary fluorescent costume and slowly becomes a part of the vertical ballet of colored stalagmites and stalactites.

La Liberté

In the strong images of the staging, Stephan Grögler brilliantly solves the problem of scenic works that lack the usual components of opera. Starting from the complete black, Queen Niobe gradually reveals herself to us in all her brilliance against a backdrop of constellations, in the midst of strange luminous columns in rainbow colors. Images of her children, one by one, will probably collapse and leave her collapsed in a burnt-out world.

Opéra International

A Diptyque refined and movingly brought on stage by Stephan Grögler. This staging, with costumes inspired by the world of heroic fantasies, gives Niobe a hierarchical position in osmosis with the aestheticism of Bob Wilson and captivates with the set that shows a field of stars and luminous columns.

Affiches Lyonnaises

Stephan Grögler took up the challenge with this new production, yet the challenge was not easy, but he once again managed to surprise the audience by creating a anticipatory setting where the crystalline voice of the perfect Christine Buffle had the opportunity to impose itself with all its strength in the vocal emission.

L’Opéra

While everything invites us to seek continuity between these harsh and sharp works, director Stephan Grögler underlines their differences. In Niobe, whose hieraticism and use of Latin reminds us of the Oedipus Rex, the incandescent Christine Buffle embodies an electrifying character in a neon forest and under a starry sky formed by clusters of light bulbs

Diapason

A scene all black, timeless and of rare power lets the character of Niobe emerge as a sculpture. The character's painful journey appears as a via cruxis in a timeless space. There was a certain decline in the dramatic development of the character of Niobe: from the heartbreaking cry of a mother who lost her children, she gradually disembodied to become nothing more than a kind of doll

Orpheus

Intense acting. Grögler lets the drama unfold on an empty stage. He only places a few accessories and a red velvet curtain that evokes the places of the action. All the dramatic action is devolved to the protagonists alone. The tensions between the characters are ever more intense, ever more desperate, until the final scene of Lucretia's suicide wich is resolved in a masterly manner

Neue Zürcher Zeitung

The Rape of Lucretia an exemplary production: François Xavier Hauville once again calls on Stephan Grögler who had made the Turn of the Screw an exemplary success. The new production of the Théâtre de Caen is a milestone. Indeed, few opera productions of such quality are found in all French opera houses.

Liberté

. . . Stephan Grögler transcends the bias of staging, the theater in the theater, to offer us a space of a marvelous poetic unity that takes on its full meaning in scene 2 when the female universe appears. Grögler created a staging that will be a milestone in his career. This production with its ingenious stage set-up and exemplary coherence in its design is currently not programmed anywhere else. However, it must be taken up again. . . .

Liberté

... la lecture de Stephan Grögler de l’ouvrage est d’une telle finesse que l’on y croit aussitôt.... Tous les éléments du décor évoluent au fil du drame pour devenir les supports métaphoriques d’une mise en scène de l’honneur et du destin contrarié. Grögler épure gestes et déplacements...un bon spectacle, très homogène et convaincant sur le plan visuel

Le Monde de la Musique

Une production splendide

Ex Aequo

. . . Stephan Grögler's staging is completely in line with Britten's storytelling spirit. From this intelligent conception, everything could then work. We could wait impatiently, scene after scene, for the continuation of this dramatic story. . . . The Rape of Lucretia finally showed, and with what pleasure, that there is no successful show without conviction and overcoming

Ouest France

Cruelty, ambiguity, paradoxical kindness: none of the different aspects of the Rape of Lucretia is forgotten by Stephan Grögler's staging. . . in the acting that disrupts an economy of means that is rare in opera. By the general relevance of the score and his intellectual authority that emerges from it, Stephan Grögler compensates for the few aesthetic temptations.

Opéra International

In Lausanne, the Viol de Lucrèce offers itself disturbing beauties From nightmare to fantasy, from horror to beauty, the borders are soft but solid. The minimalist decor designed by Stephan Grögler gives the opportunity to remind that with three times nothing you can say a lot. . . This new achievement is to be marked with a white stone.

La Tribune de Genève

In the course of the last season of the Lausanne Opera, one was really petrified by the beauty of Haydn's Orfeo direction, by the depth of thought of the images and by so much ingenuity. This year Grögler returns to the theatre in Lausanne with The Rape of Lucretia

24 Heures

The work, directed by Stephan Grögler, demonstrates that art and beauty can lead to ethical reflection.The Rape of Lucretia has nothing to do with these pseudo-historical productions whose dramatic dimension leaves the inhabitants of the 20th century indifferent. Stephan Grögler's staging stylizes the traumatic event of the rape with modesty and beauty.

24 Heures

Stephan Grögler's staging triumphs in Lausanne, and Grögler's design allows Britten's extremely elaborate music to flourish in a faithful reading of the score. The sumptuous decorations further reinforce this impression. . . Thus, the intensity of the singers acting is sure to enthuse the audience.

Der Bund

Staged with remarkable theatrical relevance, Britten's opera caused a sensation on the stage of the Lausanne opera. The Rape of Lucretia is confirming the talent of the young Bernese Stephan Grögler. The Lausanne production makes this work a jewel of ambiguous darkness and desperate tenderness. Le Temps

Le Temps

. . . Here on a bare stage that reveals its entrails, everything is conceived on the double game of action and commentary, of the space of representation and the thing represented, with, as a border, a huge curtain that winds on the stage, walking to the rhythm of the action that is committed there. Le Temps

Le Temps

If Stephan Grögler had not let a little aesthetic affectation float in this pirandellian production, we would taste quite what is splendid there of technical precision and purely theatrical inventiveness. . . . No gesture expected, but movements that we never see in opera, restraint, an incredibly fair economy of means, and which make us think that with Grögler, a real director was born.

Le Temps

Remarkable, this treatment also has the advantage of particularly enhancing the singers. Thus, on this fascinating setting, Stephan Grögler displays all the clarity of the score. All the ambiguity and paradoxes that Britten hides behind a creeping guilt too. A disturbing but in every way exemplary production!

Les Concerts d’Altamusica

An ingenious blood-red curtain descending from the fly tower and running on an S-shaped rail placed diagonally across the stage, makes it possible to move from one scene to another without any interruption: the piece gains in readability, density and dramatism, since everything here remains collected in an tiny space, just like the number of characters. . . A magnificently assumed show

Petites Affiches

The Opéra de Rennes gives a pure and icy Viol de Lucrèce. A thrifty elegance as setting: on a simple rehearsal stage (chairs, an old grand piano, a few lamps), a velvet curtain, madder, subtly snakes along a rod with rounded curves conducive to the evocation of alcoves. This set is a mental space that is all the more freely suggestive because it is abstract.

Le Monde

There are images of stunning beauty, such as that of the female trio, in Act 1, bathed in a soft and warmly dimmed light, during which Lucretia, her nurse Bianca and her servant Lucia unfold white linen. It is not known whether it is the ineffable poetry of Britten's music or the evocative force of the director that gives the certainty that the delicious smell of a freshly washed linen sheet invades the theater. . .

Le Monde

While the composer expressly asks that the roles of the female and male choirs "like in ancient times frame the tragedy but do not take part in it" Grögler convinces the contrary by asking the soprano and tenor to enter into the drama. They sneak in like translucent and helpless ghosts, giving the disturbing impression of being the positive side of the two demonic spectra of the Turn of the Screw.

Le Monde

Lausanne's production is exemplary. Stephan Grögler, to whom we already owe an excellent Turn of the Screw, has also done a very good directing job here. With intelligence, he plays out all the ambiguities of the work, underlining the symbols without appearing too didactic.

La Lettre classique

On stage, a green neon tower-totem on the left side crosses a diagonal of red neon lights that ingeniously thwarts the eye in its instinctive concern to delimit playspaces. At the right, the Steinway closes the horizon, in front of which one can guess the future meeting of a quartet or quintet. Still the simplicity of this luminous geometry is to be nuanced, many bulbs of different sizes soften the setting design

Anaclase Bertrand Bolognesi

. . . tears of laughter and emotion. A delicious evening! At first the moving and sensitive part was just as engaging as the second part, which was treated with a lighter and more entertaining way.

Oberösterreichische Nachrichten

White tiles, a mixture of slaughterhouses or kitchens, for Medea, this kind of scenic space already encountered, but which does not prevent Grögler from using it in an efficient way. The murder of Medea's sons is not really at stake but instead Medea peels potatoes with a frightening maniacism until her hands drip with blood. The wedding dress catches fire on the stove.

Neue Zürcher Zeitung

Medea is a woman of today, an extreme example of a dramatic situation transposed into real life. The myth is confused with life. Thus, in this staging, the changes in lighting play a major role in translating the character's emotion. And Grögler succeeds in getting Caroline Stein to express herself through a strong and understanding existential body language. She is simply extraordinary, both vocally and stage wise. These two dramas are creepy.

Neue Zürcher Zeitung

Stephan Grögler, who has distinguished himself in recent years by careful staging, always based on a scrupulous analysis of the works treated, and the themes they evoke, signed here a surprising, sensitive, and directly shocking work.

Anaclase.com

Medea at the bottom of a kind of disused swimming pool, surrounded by tiles attacked by time, mold and rust of the ladders. She seems to live there, with a dilapidated stove, next to a pile of unspeakable filth. Here, Medea is alone on this desolate scene, bitterly soliloquy, expressing her bitterness as much as her desires, which Jason no longer fulfills, without artifice, all based on a direction of actors of terrible exigency and accuracy.

Anaclase.com

Caroline Stein is extremely present, plays with the difficulties of a lyrical writing that sometimes borders on screaming, which uses high-pitched words to express the character's lacks, regrets, hatred and fury, using it quite naturally to be that Medea. We rarely find such a commitment in the game on the part of the singers. This is a real comedian's job, without restraint, crying out for truth.

Anaclase.com

. . . an impressive triumph. The former East Germany or Tarkovsky setting is stripped down. It evokes a dilapidated swimming pool with rubbish on the side, a gas stove in the center, lights that are alternately pale, raw, pale blue and dirty yellow. It is in this sordid place that Medea gives herself to see on a daily basis, peeling potatoes, hurting her hands with bright red blood that smears her legs and clothes. Interpretation made flesh: Caroline Stein will leave a moving memory.

24 Heures

Medea's monologue, in a contemporary, even daily setting, faces a mineral closed space covered with a bloody sheet. How can we not associate this confinement, which generates panic, with certain climates close to the tragedies of our time? Caroline Stein, Medea whose variety of vocalization modes is coupled with an immense talent as an actress with screaming suffering

Opéra International

Surrounded by a minimalist and stylized decor that is in total harmony with Heiner Müller's genre, we were able to witness an extraordinary stage performance by the very talented Caroline Stein.

L’Opéra

Dans un décor de fin de monde, Médée est une sorte de réunion de sorcières postnucléaires où Caroline Stein confère au rôle titre une dimension expressionniste.

Diapason

Pour Médée Grögler a trouvé un espace scénique surprenant : Médeé végète dans une « zone » carrelé de blanc et délabrée, évoquant peut-être un abattoir. Les portes sont murées. Des échelles rouillées donnent une idée d’échappatoire vers le haut, mais une bâche imposante rend impossible toute fuite. Ici Médée est hantée par ses propres démons intérieurs. Sa propre ombre sur le mur devient tour à tour Jason ou bien sa nounou, à Jason invisible elle propose gentiment une chaise.

Der Landbote

Elle est comme possédée , jusqu’au moment culminant de la pièce où l’assassinat de ses propres enfants qu’elle a elle-même perpétré est évoqué ici lors d’un cérémonial sordide : Médée épluche des patates en se coupant dans sa chair sans sembler réaliser qu’elle est souillée par le sang.....Caroline Stein.. une protagoniste exceptionnelle.

Der Landbote

Very nice realization. It is a subtle play of mirrors that favors confrontations in the scenic space, remarkably used and allows keeping at work this quasi cinematographic division that gives that particular rhythm, obsessive and breathless, that Britten's score maintains by playing with the very contrasting colors of a dazzling sound palette. Grögler directs the singers with a rigorous flexibility that prevents any melodramatic effect.

Le Figaro

… It is a success that can be measured by the work done with children who keep a wonderful naturalness. A great moment of poetry. This Turn of the Screw is a milestone in the field of lyrical creation. . . . Grögler, undoubtedly one of the most gifted directors of his generation.

Ouest France

A brilliant Turn of the Screw. Britten succeeds at the Caen theater: we remember the success of Robert Carsen's A Midsummer Night's Dream last year. Stephan Grögler's Turn of the Screw was produced with the same talent. Two hours of pure pleasure. . . a great moment of the season.

Liberté Dimanche

An original staging. A delight that only has the disadvantage of flowing too quickly

Liberté Dimanche

A staging in an artistic stage design: deep emotions are aroused.

La Lettre du musicien

The highlight of the Comic Opera season

Le Quotidien du Médecin

A total success.

La Croix

Stephan Grögler has resolutely moved away from a realistic show to accentuate the phantasmagoria of the action present in every detail of the scenography (movement, objects, costumes, colors, lighting. . . ) to join Britten's music in its background, which she explains by wrapping it in a surreal but deeply human universe. It is a great moment of opera applauded by an audience won over by so much truth.

Radio Notre Dame

beautiful and intelligent, an enthusiastic welcome. The Lyon Opera was fortunately inspired to entrust Stephan Grögler with this Turn of the Screw . . The decoration plays the role of revealing. . . Each move is both ferociously calculated and harmoniously mysterious. This would not have been possible without the exceptional sense of precision and strangeness that clearly captured a team passionate about adventure. One of the most beautiful moments of Lyon's opera of the 1990s!

Lyon Capital

The atmosphere is very quickly thick as black water, carrying with it turbulent and dual emotions. The overwhelming pressure of the drama knotting on stage. . . . . a staging, expressive and largely universal. The aesthetics of the piece is in its dramatic construction and its perfect adequacy with the music. Add to that the decor, light and dark lights that a Flemish painter would not deny. A beautiful picture of truth.

Le Dauphiné Libéré

Here are the Marriage of Figaro under the microscope by director Stephan Grögler. For a work whose perfect theatrical logic a priori disqualifies any attempt at rewriting, he had the intelligence to follow the rhythm imposed by Mozart and Da Ponte, while still offering original and relevant insights into its internal mechanics.

ResMusica.com : (Vincent Deloge)

The decorations are refined. Accessories solicited in turn in an original ballet by a spiritual and inspired theater man, cultivating the wink and the funny detail. Above all, each stage element provides different spaces in which the singers surprise, spy, make mistakes and reconcile. The cross-sectional view of the Countess' Kabinet in which Cherubin takes refuge allows the spectator to be a voyeur in turn. ResMusica.com : (Vincent Deloge)

ResMusica.com : (Vincent Deloge)

Like a watchmaker exposing the mechanism of a clock, Grögler invites you, with scrupulous precision and a certain efficiency, to penetrate all the cogs and gears of this crazy day, where the smile and the threat, the irony and the anger never cease to overlap.

ResMusica.com : (Vincent Deloge)

A very precise and thorough actor's direction, which does not forget any character Bartolo's ridiculous words or Basilio's drunkenness make us laugh, as much as we worry about Figaro's or the Count's brusqueness. The stage is permanently inhabited, without ever falling into vain agitation. Under these conditions, even Basilio's usually impossible aria in the fourth act "In quegli anni" finds unsuspected theatrical virtues.

ResMusica.com : (Vincent Deloge)

Stephan Grögler concentrates his acting direction in a setting that reflects the 1890s. So it is a good idea that this pictorial climate heralds the Belle Epoque, where the shadow of Toulouse-Lautrec passes through. The second quality of the staging: the fast rhythm of the show. Grögler perfectly exploits this spirit of speed in series of multicolored and dazzling pictures.

Der Bund

A grandiose evening!. . . . sober and intelligent sets. . . here is the setting for an exemplary performance. The director managed to make these characters into flesh beings. Thanks to this, the complexity of their souls, the difficulties of youth and love, the horror of death appear in the opera. . . The audience filled the theatre and gave a long-standing ovation to the entire troupe. Such quality can only lead to success

L’Hebdo

Original staging. A strong musical staging, nothing stands in the way of Puccini's musical language. Stephan Grögler leads the soloists with great sensitivity, in a discreet way but with a great deal of original and funny detail. He motivates them to a natural, nuanced acting and logical portraits.

La Presse

A show to see and hear. Stephan Grögler takes care of the details. A show that goes straight to the heart. The audience greets this production with long and enthusiastic applause.

Aargauer Zeitung

Only happiness Stephan Grögler, a professional bewitched by the place; . . . opera staged by the darling of the current operatic world, Stephan Grögler. An event! The sumptuous sets and costumes do not neglect any character, little angels, devils or sheep. Stephan Grögler's staging imaginatively uses the different poles of the place, choir, gallery, aisles. He made the disused church of Le Noirmont a magical place.

Le Quotidien Jurassien

Dazzling, grandiose, magical, superlatives are not lacking to describe the evening of this first performance. The set, costumes and staging, so particular where choirs and soloists come and go among the audience, give this oratorio a touch of originality and freshness. It is up to you, the future spectator, to rush to the old church to let yourself be dazzled by this wonderful show. Great art offered to the public in the Jura. A bold creation.

Le Quotidien Jurassien

. . subtle and poetic movement, offbeat but never ironic by choreographer Daniel Larrieu. Director Stephan Grögler has created a show with an insolent and invigorating freedom, mixing epochs, costumes and theatre styles. He located it in a setting that is half Zen garden, half desert ruin, a space conducive to all kinds of metamorphosis, on which he perched a promontory and strewn it with television screens and video projections.

Le Monde (R. Machard)

But, instead of going astray in one of these common places of high-tech staging, he does a work of ineffable poetry, refined, tender, in love and respectful of this music, which he bathes in purple, blue and green lights, and which plunge the spectator into a wonderful enchantment of artistic truth.

Le Monde (R. Machard)

We hadn't had such a strong and moving moment at the opera in a long time. Congratulations to the Lausanne opera house, the main producer, and the Nîmes theater, which will revive the show in a few days'; time; shame on the French and Parisian theaters who have decided not to co-produce this marvel and do not have the courage to dare to imagine another Triumph of Atys

Le Monde (R. Machard)

Stephan Grögler's staging is exclusively at the service of this baroque veneration. Lully's opera is like a tale, timeless, with its rituals, its exoticism, its false presences. A dreamy baroque that dies with the spotlight

Hebdo

.. . . real acting skills, perfectly channeled by Stephan Grögler's judicious and attentive management, where nothing is left to chance. The choir is treated as constructed individualities. This setting is very versatile and offers an aesthetic and ingenious alternative to the fantastic story. All this is brilliant and has a sure taste, skillfully associated with Laurent Castaingt's ever more elaborate lighting.

Neue Zürcher Zeitung (Ch.Ballmer)

Stephan Grögler abstained from the baroque visual flooding; to transfer the action into a timeless No man's land. A unique place, a desert and gray waterfront that is oppressive and sad. In contrast to colorful video projections filling a dozen television screens with images of nature and baroque ornamentation.

Neue Zürcher Zeitung (Ch.Ballmer)

A colorful and lively production by Stephan Grögler. . . war against love. It requires a certain ironic restraint. And Grögler does this brilliantly: he makes fairies, shepherds and shepherds, court people, ballet twirl by putting Lully's entertainment back into the somewhat tired and annoyed hightsociety. There is a permanent exchange between the winged sailors, the shepherds and the Mandarins with their charming play of parasols that populate this desert landscape.

Der Bund (H.P.Renggli)

All dies erweckt diesen Raum nicht nur zum Leben, sondern verleiht ihm auch viel Charme und Humor. Dank 12 Fernsehbildschirmen mit ihren bunten Bildern oder künstlicheren Grafiken gedeihen diese Wüstenorte wieder, wir befinden uns immer mit zwei kontrastierenden Bildebenen. Und wenn Roland in der Szene des Liebeswahnsinns einen Fernseher zertrümmert, ist der Effekt nicht nur spektakulär, sondern hat auch einen dramaturgischen Sinn.

Der Bund (H.P.Renggli)

. . . real acting skills, perfectly channeled by Stephan Grögler's judicious and attentive management, where nothing is left to chance. The choir is treated as constructed individualities. This setting is very versatile and offers an aesthetic and ingenious alternative to the fantastic story. All this is brilliant and has a sure taste, skillfully associated with Laurent Castaingt's ever more elaborate lighting.

Anaclase (BB)

Endless applause and Roland's victory! Lully's unknown opera triumphs in a superb production.

Nîmes Metropole

This production of the Opéra de Lausanne is a great success. In terms of staging, choreography, sets, costumes and video, we reach the pinnacle of efficiency. Stephan Grögler, Daniel Larrieu, Véronique Seymat and Charles Carcopino have all combined (and the word is weak!) their talents to best serve this production.

Opéra International

The result is a true modernist and luminous enchantment, in which the artists are so many shimmering facets that capture the changing colors of this immense kaleidoscope. The lighting, the projections on the suspended panels are visually magical and the structure of the set (a kind of bridge stretched towards the horizon), allows the light to invent infinite perspectives that transport this opera towards the unreal. A furiously handsome Roland.

Opéra International

Johnny Johnson french premiere: a success!. . . . . Successful staging and public triumph for the entire production team gathered around Stephan Grögler who did a tremendous job. A success!

Liberté de Normandie

Johnny Johnson a success. . . Stephan Grögler's choice to develop this show under a tent responds as well to the universe of a theater for armies as to the idea of a refugee camp. All the director's work is thus supported by images and effects of striking symbolic force. The stage, a circular inclined plane, is transformed into a city square, an office, a battlefield, a hospital, at the same time the ten actors-singers change characters.

La Lettre du Musicien

. . The obstacle of an original version in English is erased by the scenic quality of the transformation scenes and by the interventions in French subtly inserted by the playwright Louis Charles Sirjacq. And then, and above all, the perfectly designed distribution completes the success of this show.

Ouest France

. . . A show full of qualities. . . Stephan Grögler's direction is intelligent, lively and eventful, and his sets present many happy ideas. . .

Ouest France

. . The show highlights the effective and colorful staging. . . . Grögler is not lost in realism. He skillfully plays with lights, creates magical moments of melancholy and dream, masterfully unfolds a trench scene and uses the best humor. This production has delighted a packed tent and fully serves the musical theater of the twentieth century.

Crescendo ( Belgique)

. . The show highlights the effective and colorful staging. . . . Grögler is not lost in realism. He skillfully plays with lights, creates magical moments of melancholy and dream, masterfully unfolds a trench scene and uses the best humor. This production has delighted a packed tent and fully serves the musical theater of the twentieth century.

Le Monde de la musique

Grögler inventively evaluates the unusual location of a tent. The performance : a success.

Diapason

. . a colorful, sensual and festive atmosphere. . . Imagined with the expressiveness of a fairy tale, inspired by Botero's founding themes. . . . . A light and catchy ode in homage to the Colombian artist.

Monaco matin

Albert applauds, as much as Botero, for a real success. The one to give life to the characters so typical of the Colombian painter and sculptor. . . We have the impression that these two characters have just escaped from his paintings. Botero is crying and laughing of emotion.

Nice matin ...

. . . The evening is an authentic triumph. . .

gala

Stephan Grögler has done a remarkable job, both stimulating for the spectator and training for the young singers from whom he demands agility and resistance. He designed a unic setting, a kind of small mountain of micro acting-spaces that communicate together by steps. Thus, with a minimum of curtain falls, the scenes follow one another without interruption and let the profusion of the libretto invade the action.

Opera Magazine

In Anfossi's opera, the lighting is more direct, while the movements and gestures are ample and lively. In Mozart's, the dramatic rhythm is somewhat slower and the lighting is softened, if only to let the vocality blossom into a kind of still image. A virtuoso staging.

Opera Magazine

The same scenography unites the two operas without copying them. The production took place in an undetermined 20th century, dotted with armchairs and sofas. From this intertwining of feelings and characters specific to opera-buffa, Stephan Grögler was able to untangle the guidelines and define the characters. Hearts blur, spirits wander, passions cross paths in this ballet for a deceived old fogy, a cunning servant and a desperate valet.

La Croix

The unique setting is of ingenious simplicity: a kind of hill of sofas and chairs, placed on different levels, which perfectly suggests the different rooms of a vast residence, and which allows the action to unfold smoothly and completely clear. The direction of the actors is efficient, the stage moves with naturalness and conviction, and the stage energy is remarkable.

ResMusica

The director has decided to give a big place to the cembalist, who is placed on stage, dressed in a magnificent pink evening dress and wearing a blond wig, and who will, in addition to ensuring the continuo, launch into a few gags of the most beautiful comic effect that make him a full-fledged protagonist in the success of the show.

ResMusica

In the same settings as the day before, Stephan Grögler's direction clearly marks the qualitative leap between the two versions. The action is more concentrated, more serious, the possibilities of the set are less exploited (it is no longer necessary), and there is no need to introduce an additional character, the cembalist (certainly very funny and an excellent idea) the staging of the Mozart version is much better adapted to the nature of the work.

ResMusica

Stephan Grögler directs both operas. In contemporary sets and costumes, he leads, in the version of Anfossi, the singers in a frantic round using sofa-beds to animate this rather static plot. The young performers are often better actors than singers. To the delight of the audience, the director added a transvestite character, Carlos Aragon, who plays the continuo on stage while entertaining the audience.

Le Figaro

Stephan Grögler has chosen a unique setting, a kind of hill, tower of Babel or labyrinth made up of sofas and armchairs placed on terraces. White in Mozart, they are for Anfossi covered with flower fabrics. They are indeed the garden where the action takes place! Convertible sofas also offer possibilities that singers take advantage of in underwear and pijamas. Anfossi is enriched by a transvestite pianist who offers a comic counterpoint to the action.

Operabase

Pour l’opéra d’Anfossi se déploieront des couleurs, des textures, des costumes issus du vocabulaire du théâtre ambulant et de la commedia dell’arte. Pour Mozart au contraire, le raffinement de couleurs lunaires, nuancier de blancs et de gris perle, aussi bien pour le décor que pour les costumes aux lignes épurées, élégantes, souligneront le caractère éternel des œuvres du compositeur qui a su s’affranchir des avatars des modes et tendances

Le Magazine Litteraire

For Anfossi's opera, colors, textures, costumes from the vocabulary of traveling theater and commedia dell'arte will be displayed. For Mozart, on the other hand, the refinement of lunar colors, with hues of white and pearl gray, both for the set and for the costumes with their refined, elegant lines, will underline the eternal character of the composer's works, who has managed to free himself from the avatars of fashion and trends.

Le Magazine Litteraire :

This new production has breathed fresh air into all aspects of the production: a voluntary modernist production, although always sober, which is the prerogative of the young Stephan Grögler…the comparison of the two conclusions proves to be a wise choice.

La lettre du musicien

The first impression of beeing caught up in contradiction by transposing, according to the academism of modernity, everything to the present time was quickly erased under the success of Stephan Grögler's proposal, who also signed the magnificent sets and costumes with Véronique Seymat. In the 1930s, an austere concave bronze wall evokes the famous walls of Syracuse, in an Art Deco coldness and a Mussolinian stiffness.

Autre Sud

Le seul byzantinisme ici, est celui de la mise en scène, qui étonne d’abord en transposant, selon l’académisme de la modernité de tout transposer au temps présent. Mais cette première impression s’efface vite sous la réussite de la proposition de Stephan Grögler qui signe aussi les magnifiques décors et costumes avec Véronique Seymat. Années 30 donc, un austère concave mur de bronze évoque les murailles célèbres de Syracuse, dans une froideur Art Déco et une raideur mussolinienne.

Autre Sud

An opressing palace-bunker ; showing a fascist dictatorships, witch fascinated the nearby Balkans and the former Turkish Empire of Mustapha Kemal, where dark and rigid military forces evolve, filled with a somewhat mafia-like arrogance. Against a black stage curtain background, beautiful theatrical signs: a white bouquet, three chairs, a candelabra.

Autre Sud

The soloists and chorus are acting with precise attitudes like in black and white movie, magnificent. The reverse side of the 2 act setting impresses with its rigorous beauty and light (Laurent Castaingt) in the style of futuristic and abstract painters with its immense vertical and oblique lines luminescently underlined, we think of Fritz Lang, especially Murnau, and the center door evokes Hopper.

Autre Sud

Stephan Grögler has done a remarkable job, both stimulating for the spectator and training for the young singers from whom he demands agility and resistance. He designed a unic setting, a kind of small mountain of micro acting-spaces that communicate together by steps. Thus, with a minimum of curtain falls, the scenes follow one another without interruption and let the profusion of the libretto invade the action.

La Marseillaise

In Lausanne, the audience reserves a standing ovation for L'Anima del filosofo. . . Orpheus expiring must have had a memorable standing ovation. Excited by a two-hour flood of colors, the public enthusiastically welcomed the new Lausanne production. On January 2, the same room shook to the applause of another audience, also inflamed. A bug-free journey for Stephan Grögler, who is responsible for the staging. . . . This winter's lyrical show. . . .

Le Temps

During the last season of the Opéra de Lausanne, we were literally amazed by the beauty of Haydn's L'anima del filosofo staging of, by the depth of his vision, by so much imagination. Stephan Grögler will come back this season for Britten's Rape of Lucretia

24 Heures

Orfeo and Euridice good surprise, the well-known Stephan Grögler, has created an intelligent and clever production in Lausanne. . . Stephan Grögler thwarted the difficulties by putting together a representation of Orfeo. The process works and perfectly illustrates the fluidity of the sequences and the many changes of location.

Le Progrès de Lyon

Orfeo and Euridice makes a triumph at the theatre of Caen. Grögler Haydn's great magician. . . announced as the lyrical event at the beginning of the year, the show kept its promises and enthused the audience of the Caen Theatre. . . we will remember a particularly bright staging. . . From a booklet not without weaknesses the director drew an astonishing show.

Ouest France

Orfeo an exemplary production. . . the director also responsible for the painted canvases inspired by Rothko, succeeds in making readable a complicated plot, to say the least, replacing the action in an imaginary court. . .

Liberté de Normandie

…Stephan Grögler was able to take advantage of the dramaturgical weaknesses of this work by reinforcing Orfeo's inner drama. His Orfeo, like Tamino, must go through trials before finding the reason. The choirs with Mozart accents are in turn treated in the same way as in Greek tragedy, they comment on the action and create a theatrical distance, or they become characters involved in this action.

Les Concerts d’Altamusica

The decoration is superb, inspired by Rothko's canvases, with significant colors, and large tulle panels, the border between the visible and the invisible. A very beautiful inner drama

Les Concerts d’Altamusica

... Stephan Grögler signe un fabuleux spectacle, d’une pertinence, d’une splendeur et d’une intelligence comme on en n’a plus vu de longtemps dans un tel répertoire... il ne cesse ainsi de combler, par son propre théâtre ce que le livret ne donne pas. Il montre des personnages aux prises avec l’essentiel, face à leur drame, mais aussi dans le réseaux des codes et des conventions qui façonnent l’esthétique de l’ouvrage et de son temps...

Opera International

. . . Stephan Grögler has created a fabulous show, of such relevance, splendor and intelligence as we have not seen for a long time in such a repertoire. . . He never stops filling, with his own theater, what the libretto does not give. It shows characters struggling with the essential, in the face of their drama, but also in the network of codes and conventions that shape the aesthetics of the work and its time. .

Opera International

. . . Whether it is a question of distance or proximity to the plot, the illustration of the subject or its commentary, the general rhythm and the care taken in the conduct of each character (including the chorus), this show, as we have understood it, is a pure delight.

Opera International

Stephan Grögler, remember this name… for both operas he finds clever dramaturgical and scenographic solutions. . . In The Emperor he dramatizes, he clutters up, just like Ullmann, who stuffs his score with references, in Socrates, he purifies. . . . we regret that A. Stoehr does not show the same tact as the director.

Journal de Genève

. . . Grögler's work, stretched to the extreme, shows a real knowledge of dramatic acting. Les Echos

Les Echos

The work of director Stephan Grögler is intelligent and sensitive. He kept the same concept for both works: a concave scene in a cube. Dark and expressionist climates for The Emperor of Atlantis which vibrates with poignant, light and luminous beauties like Greece for Socrates

Le Parisien

The young director and his costume designer Véronique Sejmat are to be congratulated. It's a duo that we're not finished hearing about because of the list of successes they already have.

Chroniques du Bel Canto

The undeniable success of the evening being to the credit of the director Stephan Grögler whose inventiveness (props), elegance (costumes from Socrates), intelligence and clarity (the acting) and humility (serving the scores) are remarkable, this young director (31 years old) is destined for a great future.

Concerto Net.com (Philippe Herlin)

. . . breathtaking costumes. . . Stephan Grögler's thesis of madness is very taking; we follow the pitiful fate of the Mad King; with a knotted throat. At no time does the tension release. A sensational production!

Wiener Zeitung

Praise the madness. A top-of-the-range interpretation and an original staging, superb lighting. Stephan Grögler has set up a truculent, alert, ironic production, with just the right amount of derision and concern.

Figaro

Thanks to Stephan Grögler's acting direction, Miss Donnithornes became a character with a passionate and changing character. In Eight Songs tension and anguish are increasingly present and inevitably mark the character of Mad King broken by madness and illness.

Der Standard

Thanks to Stephan Grögler's acting direction, Miss Donnithornes became a character with a passionate and changing character. In Eight Songs tension and anguish are increasingly present and inevitably mark the character of Mad King broken by madness and illness.

Le Progrès

How to represent Judith's journey, which opens one by one the gates of Bluebeard Castle as if to reveal the hidden corners of an unfamiliar soul? Grögler replaces the doors with night table drawers, an eminently intimate space. The huge disused hall that serves as a palace amplifies each secret discovered by subtle changes in lighting. This hall, the two spouses accessed it by an old lift; superb image of the elevator whose descent breaks through the darkness.

Le Temps

A very personal and symbolic staging of both works by Stephan Grögler. Grögler interprets the work accurately. The characters; internal struggles and sufferings are credible. . . . The extreme reduction of the introspection of the two main characters of Blaubart; is in strong contrast to his interpretation of the Zwerg

Berner Oberländer

Stephan Grögler treats these two pieces in one act in two very different ways; and he is not wrong, because Bartok's condensed musical language seems to us to be in sharp contrast to Zemlinsky's permanent musical flow in which the fiery melodies"sweat with expressiveness".

Neue Zürcher Zeitung

The winning team of the « Turn of the screw » and the « The Rape of Lucretia » is back for an inspired production. . . The clever and colorful staging is a real eye-catcher, a show bursting with vitality. . . Grögler's inventive staging leaves even less respite, as it abandons the stage curtain, integrates the intervention of stagehands into the action and adds poetic and spicy children's roles with humor.

Ouest France

Stephan Grögler's direction plunges the play into an atmosphere filled with bright colors, kitsch and cinematographic winks, an evocation of the world of classical musical theater. In the middle of daily life, the characters move from singing to dialogue as in a Jacques Demy musical. More than the comic of situations, Grögler exploits the sentimental side of the comedy of morals.

Le monde de la musique

. . . Stephan Grögler creates a highly colorful staging of songs and sets. Even if we sometimes think of the Hollywood productions of the time; the director mainly assumes a strong influence of Jacques Demy's films. Grögler works on the stylisation of movements, costumes, sets, choreography, lighting to create a kind of parallel space.

Liberté Dimanche

. . . Stephan Grögler, whose undisputed talent we know, has brought out the best in this work.

Liberté Dimanche

Intelligent, joyful, colourful production

Le Monde

Gretel and Hänsel (from Stephan Grögler opera director of the future) is worth the trip. It is a show in every respect admirable. . . this initiation to the dangers of adulthood is represented in an intelligent and playful way. . . the tale reaches its universality thanks to an actualisation that is never aggressive, but poetic, dreamlike and funny. Great art!

Journal de Genève

...une mise en scène très captivante et inventive.

B.I.M.C.

This staging is visually understandable and entertaining for children, the result fills the young audience with pleasure and arouses vocations.

Libération

The director, Stephan Grögler, delights us with freshness and originality. Ideas come up, irresistibly funny or nostalgic, but never cheap. Before Disneyland, dazzle yourself and your family at the Bastille Amphitheatre!

La Côte des Alpes

Stephan Grögler's staging also tends to update the story and its setting. The wood, while distant and worrying, evokes the jungle of cities and the dangers of today, through a host of enigmatic signs and billboards. In any case, in keeping with an artistic policy that is already old, the Opéra de Lyon has decided to present a show that is clearly understandable to the children to whom it is addressed without damaging the original work.

T.D.C.

. . . a remarkable achievement where professionalism and emotion, form an inseparable household. And in front of the sober and fair play of the young actors, their moving voices and their commitment, one can only be convinced and enthusiastic about the result of the remarkable teamwork. This means that all the participants in this exemplary company deserve the same praise, with a special mention for the director Stephan Grögler.

Opernwelt

It's a deeply sad story told by hundreds of eight to fourteen years old singers, a story from a distant history and yet in many ways, frighteningly topical. A remarkably agile production. Under the direction of Stephan Grögler, the visibly motivated children sacrificed part of their free time.

Opernwelt

They showed in brilliant acting performances the hardships and punishments, but also the solidarity among each other or the attempts to escape, the marked leader figures and informers, happily dismissed, but finally also dying.

Opernwelt

The archivist who follows this tremendous story and brings it to life from old sources. The simple and refined stage designdesigned by Grögler for the revolvingstage of the Geneva Opera House, the book racks of an archive that transform into workshops and bedrooms, contributed decisively to the successful production.

Opernwelt

"Les Enfants du Levant"; distresses the BFM. Clever and impressive setting. Objective achieved: In the sold out BFM "Les enfants du Levant" the audience was overwhelmed and impressed by the quality of the work of the children and their elders. Stephan Grögler's sets and staging contribute significantly to the success of the evening.

Opernwelt

"Les Enfants du Levant"; distresses the BFM. Clever and impressive setting. Objective achieved: In the sold out BFM "Les enfants du Levant" the audience was overwhelmed and impressed by the quality of the work of the children and their elders. Stephan Grögler's sets and staging contribute significantly to the success of the evening.

Tribune de Genève

Stephan Grögler had the brilliant idea of designing his sets around a single element. As the Archivist (excellent Philippe Morand) consults old documents in his library, he reconstructs the facts, imagines the abused children, literally projects their experiences around him, so that the library transforms itself into a penitentiary.

Le Temps

On dusty books (a metaphor for buried memory), children in rags sing their misery in prison. The library, lit by neon lights, pivots on itself. Every quarter turn, a different part of the penitentiary appears: laundry room, shoemaking, tomato plantation. . . Of a rare intelligence. Seeing the commitment of the children on stage, the extraordinary accuracy of their acting, we think that adults could well take an example from them.

Le Temps

The Bernese did not skimp on his ambitions by installing a skilful and imposing setting where the action is knotted with naturalness. The large turntable, which reveals in turn a library, a prison, a shoe factory, a laundry and a no man's land rooted on a mound of books, gives into the symbol while remaining perfectly effective.

Tribune de Genève

Philippe Morand is the Archivist, narrator and witness of the terrible mutiny of the little convicts. He evolves in his lecture-place filled with these tortured lives with the ease of a pro. Proof that the concept works for everyone and is also aimed at the most experienced people on stage. The other adults in the story benefit as much from this treatment as the forty or so young people, all as surprising in their involvement and theatrical intensity.

Tribune de Genève

This very active director in France, imposes from show to show a theatrical intelligence that we are happy to see progress. By theatrical intelligence, we mean this way of uniting the relevance of the design and respect for the contingencies specific to the stage. The same intelligence governs the staging of the « Zwerg » to which the direction of rather naturalistic acting adapts well.

Le Temps

Grögler interprets the work accurately. The characters' inner struggles and sufferings are credible. . . in contrast to his interpretation of « Blaubart » the « Zwerg » overflows with choreographic rococo images; a "scenic abundance". In this atmosphere of decadence, the fate of the"Zwerg" is even more dramatic

Berner Oberländer

Stephan Grögler treats these two pieces in one act in two very different ways; and he is not wrong, because Bartok's condensed musical language seems to us to be in sharp contrast to Zemlinsky's permanent musical flow in which the fiery melodies"sweat with expressiveness".

Neue Zürcher Zeitung

A trendy Cosi commedia dell'Arte. This redacted version of the dizziness and the shadows of the work appeals enormously to the audience. Ezio Toffolutti designs sets and costumes of great refinement. This time the staging is set by the young Stephan Grögler; the show is revived, the performers move, have fun; Despina and Alfonso leads the dance, and Cosi finds his Neapolitan roots. There is a invigorating wind of commedia del arte blowing on this evening.

Altamusica.com

. . . Slapped by the guests, Prince Rainier seemed to taste as much as his children the succession of scenes imagined by the creator of « Chanel ». . . . At the princely tables, the atmosphere was in tune with that in the room: unbridled

divers

Successful premiere; with how much enthusiasm and commitment this work is realized enchants just as much as the legendary plot of the fairy tale. The dynamic production relies on group choreographies and a clear body language. With wood shavings and hanging poles this forest is masterly evoked with little resources. The production inspires amazement and reflection and brings the fairy tale into the present without any contortion – a splendid achievement.

Der Bund (Moritz Ackermann)

Hope at the end of the line in the fairytale forest. The opera"The Cold Heart" is a mammoth project with around a hundred participants. The world premiere at the Reitschule was a success. Director Stephan Grögler fortunately didn't let himself be tempted to locate the current fairy tale in reality. Peter is also a charcoal burner in the Berneproduction and not a stockbroker. The forest remains forest. Grögler trusts in the power of the old legend and in the libretto by Lukas Hartmann.

Der Bund (Moritz Ackermann)

…And it is precisely for this reason that he finds impressive images. For example, when the children's choir, dressed entirely in white, wanders through the dark forest and tries to warn Peter Munk against his own folly. The long stage, covered with wood chips, is interspersed with dark iron bars, a wooden board is sometimes a gate of fate, sometimes a banquet table. Der Bund (Moritz Ackermann)

Der Bund (Moritz Ackermann)

An opera means action, colour, song and music. And when it comes well in modern times, it sounds and appears -as it does here - as a whole, as a total work of art. The soloists turn out to be a dramaturgically finely tuned ensemble with differentiated individual characteristics adapted to the caracters. What an impressive overall performance. It is worth a trip to Bern. The symbolic story told with all these artisctic elements and means captivates and seizes.

Seniorweb.ch

Stephan Grögler oblige les spectateurs à concentrer leur regard sur les chanteurs-acteurs, obligeant ces derniers à un travail approfondi. On admire un subtil entrelacs de trajectoires individuelles toujours justifiés, et un rythme ponctué tour à tour d’alentissements et de subits élans, qui aboutit à un III où le malaise révolutionnaire aura rarement été saisi avec plus de pertinence. Par les soins de cette excellente production, Lorenzo Da Ponte surgit, toujours aussi vivant.

OperaOnLine (Emmanuel Andrieu)

Une mise en scène atypique pour l’Opéra Confluence, un véritable festin Stephan Grögler en assurait les décors et une mise en scène juste assez « polissonne ». Cette ambiance de « Carnaval » ou de « club privé » à Venise, nous plonge dans une ambiance sulfureuse, troublante mais aussi festive, divertissante et nostalgique d’un temps. Le public ne ménagea pas ses ovations amplement méritées.

Projecteur.com (Jacques Jarmasson)

Un mariage pour le meilleur… La mise en scène laisse la place aux intermittences du cœur, à la subtilité, à la mélancolie même. Les portes claquent, les gifles volent, on se court après, on se rattrape, on s’épie, on se déguise, on badine érotiquement, on s’aime enfin dans une vie scénique sans emphase, une quotidienneté presque banale, avec heureusement ce climat chargé d’électricité qui fait de cette folle journée, comme alimentée à la gégène, véritablement, une journée de dingue.

suite

C’est fin, intelligent, sans faute de goût, d’un classicisme et modernisme luxueux, réjouissant. Passe bien sûr dans cette mascarade, où nobles et valets restent toujours à leur place, l'ombre de la Règle du Jeu de Renoir, idée première du metteur en scène...

Arts-Spectacles (Christian Colombeau)

Un spectacle déstructuré, hors du temps, comme si notre société anachronique rassemblait toutes ses époques pour les mettre en carton et les déménager vers d’autres univers. Une forme de décadence avec les femmes légères traversant le plateau en collant et jarretières.

suite

Cette vision de fin d’une époque, où se mêlent jaquettes moirées et perruques aux costumes trois pièces, déroutent quelque peu au premier acte, puis se met en place alors que se succèdent les tableaux dans une maison où règne le fatras annonçant la destruction d’un monde.

Ventoux Opéra (Bruno Albero)

... le travail de Grögler, tendu à l’extrême, montre une réelle connaissance du jeu dramatique.

Les Echos

La réussite incontestable de la soirée étant à porter au crédit du metteur en scène Stephan Grögler dont l'inventivité (les accessoires), l'élégance (les costumes du Dernier jour de Socrate), l'intelligence et la clarté (le jeu des acteurs) et l'humilité (à servir les oeuvres) sont remarquables, ce jeune metteur en scène (31 ans) est promis à un grand avenir.

Concerto Net.com (Philippe Herlin)

La création a trouvé un efficace défenseur en la personne de Stephan Grögler : Stephan Grögler , retenez ce nom. On vous en avez déjà parlé il y a deux ans. Et cela fait plusieurs saisons que ce jeune metteur en scène s’est fait remarquer sur les scènes lyriques de l’Hexagone. Cette saison, il récidive en beauté : après Bienne et avant Berne, Paris et Lyon accueillent ses nouveaux spectacles Il trouve des solutions dramaturgiques et scénographiques astucieuses...

Journal de Genève

Le travail du metteur en scène Stephan Grögler est intelligent et sensible. Il a conservé le même concept pour les deux oeuvres : une scène concave dans un cube. Climats sombres et expressionnistes pour « L’Empereur d’Atlantis » qui vibre de beautés poignantes, légers et lumineux comme la Grèce pour « Socrate ».

Le Parisien

Le jeune metteur en scène et sa costumière Véronique Sejmat sont à féliciter. C’est un duo dont on n’a pas fini d’entendre parler vu les palmarès qu’ils affichent déjà.

Chroniques du Bel Canto