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| The Baroque Theater of Mask |
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| "The Theater der Klaenge shows us with breathtaking perfection its "Baroque Theater of Masks". The latest of this company has nothing to do with the trends of our times. This, which on the stage has such an outlandish and bizarre effect, that it appears to have come out of the future, are in truth fantastic ideas from the deep past. In wonderfully fashioned costumes, and in front of a continuously changing scenery of Italian landscapes, artistically painted, the Theater der Klaenge awakens memories of old theatrical values. It is a feast for the senses, acted, danced, full of nonsense and overacted to one’s hearts content, so as to cause the stage to wobble." |
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Westdeutsche Zeitung |
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| " It proves itself to be a veritable feast for the eyes and ears. Things unfold classy to the last detail, on the glaring red stage of the traveling theater, in colorful fireworks of skillful drolleries, quiet pantomimes and funny mishaps, harlequinades, tricks, Venetians, as well as other comedy forms. With no coherent story to speak about, one is entertained to the utmost during two hours of the purest form Commedia dell’Arte. Lambranzi’s baroque ideas prove themselves freshly alive - thanks to a company of extremely talented people and a luscious decor, as one would not have expected from an independent Ensemble." |
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Rheinische Post |
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| " What is promised by splendid performances, rich atmosphere and great success - is once more offered by the award-winning Ensemble Theater der Klaenge in their new piece "The Baroque Theater of Masks". So would have the Theater der Klaenge probably been - in 1716, as Gregorio Lambranzi presented his "New and curious theatrical dance school" on his juggler troupe’s wooden stage boards. The glaring red curtain. A wooden podium, eternally creaking and close by a couple of musicians, who also take on small roles in cloak and mask. Boundaries between dance and music, between silliness and grace are unknown to this theater family. The seductive mixture worked again. Grotesque, how stilted the court dances of the times appeared. Masks and costumes admirably true to detail, remarkable zest in music and movement." |
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Neue Rhein Zeitung |
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| "The fact that it does not have the stiffness one would associate with a museum lies not only in the fact that a form of theater, which was thought to be lost, was brought back to life as an original happening out of sheer delight in playing and impulse to change, but also in the earnestness and freshness with which the young and professionally trained artists work. An abracadabra of the lofty, ironically captured, the comical and the grotesque or, if one so wishes, a revue of acting and dance principles from the past." |
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Opernwelt |
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| "The components of acting, music and dance were combined together in a collage of 18 scenes: for a performance in the style of a former time, when traveling professional actors sold their talents at the market square. The colorful spectacle was well received in Heidelberg: an extended applause after the finale, which once more highlighted the complexity of the company through the amalgamation of all forms of performance styles." |
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Mannheimer Morgen |
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| "That the theater doesn’t limit itself to perfect decor, is not only owed to the highly talented troupe. The eight actors and dancers slip at lightning speed through all Commedia dell’Arte masks. Admirable is how precisely they capture the typical Italian character of this theater form from the past. Dance master Lambranzi and his wife lead through the scenes. Through their amusing competitiveness, they embody what is also a permanent theme in the other scenes: the war between the sexes. This forever current theme has rarely been presented with such a light hand." |
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Rheinische Post (Heidelberg edition) |
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