Reviews

JEANNE, CENTRE DRAMATIQUE NATIONAL DE ROUEN 2019 
Far removed from a hagiography, Cornelia Rainer presents an astonishing transmission of Jeanne d'Arc's historical story to a young girl of our time. Originally written and staged for a young audience, this production with its universal questions is a must for viewers of all generations. France 3  show more
At the invitation of CDN Noumandie Rouen, Cornelia Rainer stages "Jeanne" for four actresses. The piece includes all generations and is a joyful confrontation of history and the present time. She plays fearlessly with the myth of Jeanne d'Arc and thus awakens an encouraging force of change among the audience.  Quotidien Normandie

Her production has already been a great success in Austria. Rouen also proves to be the ideal location for the French new adaptation. Quotidien Normandie

Cornelia Rainer, young Austrian director, takes possession of the universal figure of Joan of Arc and contrasts it skillfully and in an unconventional way with the questions of our time. Culturebox Sensitive and smart, in a simple decor and with few props, and a simple revolving stage (which still comes from the equipment of her production "Lenz" at the Festival Avignon 2016), brings Cornelia Rainer without great cinematic additions, a new modern view of Joan of Arc on the stage. France 3 It is an amazing adaptation of Jeanne d'Arc's performance at the CDN Rouen. The Maid of Orléans has been used, occupied, disfigured for decades. The Austrian director gives us a completely new perspective with her work: she shifts the sword of the women fighter into the inner life of four girls of our time, where, in alternating voices, they embark on a triumphal march of their own consciousness and their question about the meaning of existence and life : Courage and self-knowledge.

By cleverly blending history and stories, Cornelia Rainer easily moves into different times, all in an impressive continuity. The wise existential questions of the historical Jeanne d'Arc become questions of the four young girls of our time. The text seems like a long thought that is just beginning to emerge. The many choices of young people of today encounter the impossible, they lose themselves in fear and dizziness.

What we see here is finally a truly educational and artistically high-quality program for young women and men (mutatis mutandis). Nothing is forced, but everything is formulated in a great clarity. The misty detours that young people often have to go today become possibilities and inventions. Numerous questions are asked unadorned, always with care that the thread of reflection has to spin the audience itself. The premises are also laid in the staging for it. A dark staging, with the equipment always the play of the actresses and not vice versa. The history of Jeanne d'Arc does not disappear, on the contrary, it is the common thread, and is used as a starting point for essential issues of our time.

A production that deserves to be shown everywhere in the future, at theaters and festivals, at festivals for Jeanne d'Arc, in schools, for young and adult people. Rouen sur scène

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MADAME BUTTERFLY OPER TRIER, 2019
The round two and a half hours of performance in Italian impressed the audience. They were able to move emotionally. Volksfreund Trier  show more
A successful emotional response directed by Cornelia Rainer, the Trierer production manages to emotionally appeal to the audience. Many are taken after the tragic end, although it is clearly outlined from the beginning in scenic as well as in the subtitled libretto and therefore can not surprise. Maybe it's because the production of the interior of the Siheng Yi embodied Butterfly as the underlying dramaturgical guideline. Access to her imagination and feelings open up, above all, visual gimmicks. Trier Reporter

A video projection of sky, clouds and sea waves, for example, draws us into yearning, the butterfly in the aria "Un bel dì, vedremo" in the second act gives. Its isolation illustrates a dungeon of several layers of curtains, behind which the figure is motionless and only is dimly visible. Trier Reporter

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HAMLET, OPHELIA AND THE OTHERS, BURGTHEATER KASINO 2017
Cornelia Rainer and Stephan Lack sensitively achieved the text, Rainer‘s production is full of much more than just successful images. / Der Standard


MINIATURES PHILHARMONIE LUXEMBURG 2017 
Sensitive theater and full of imagination for the little ones. Cornelia Rainer combines music and acting at the highest level. /Junge Welt Luxemburg


MARAMBA, ALTES HALLENBAD FELDKIRCH 2016
Maramba is the hard stuff that very good theater is made of. Director Cornelia Rainer leaves the openness of the original in the play, while combining threads and leaving them also loose and scattered in the room. The actors are direct, they are directly human and raw. In short; they are terrific. /Vorarlberger Nachrichten

 

THE DIAMOND OF THE SPIRIT KING, RAIMUNDSPIELE GUTENSTEIN 2016 
Beautiful inner theater with Raimund. Cornelia Rainer directed ‚The Diamond of the Spirit King as a Psychodrama.‘ (...) Rainer shows everything, the sinister fairy tale in which political satire flashes before us, without losing the cheerful veneer of summer theater. /Die Presse

 

LENZ, FESTIVAL AVIGNON 2016
Cornelia Rainer brings Lenz to life. A discovery. Less a discovery of Jakob Lenz, whose work is indeed rarely performed, than of Cornelia Rainer. A young Austrian director is in France for the first time as guest director. /La Liberation show more
Full of good vibes. A detailed elaborate production, imaginative and talented, to which this young director invites the audience for Büchner's novella, without ever damaging anything. Cornelia Rainer is gifted, let there be no doubt that she represents a new generation of directors. The audience of the Festival d'Avignon knows this, and proves it to her. /Vaucluse 

A stormy LENZ. Great theatre! /La Provence.

Cornelia Rainer praises LENZ' existential Crisis Under the benevolent gaze of Cornelia Rainer, Lenz has found in this production a worthy and posthumous rehabilitation. Du théatre par gros temps With her production of "LENZ" Cornelia Rainer delivers an architectural highlight. In constant balance between intimacy and collective harmony. By moving back and forth between an existential search and an almost metaphysical thriller, she brings Lenz's stay at Steintal into the present day with logical production and stage design. (...) Cornelia Rainer takes time for characters to find relationships, defined by a remarkable strength whose personality is sometimes confused and ambiguous. (...) Her script is of rare mastery and attested, systematical search. And everything is music. From the roller coaster to the plates and chairs until the evening ends with the dummer's grand finale. Then silence. /Rick et Pick 

A great return to a rough past and a journey of our time. The agony of an author caught in his existential questions. That is the alluring, mysterious proposal and at the same time the tireless attitude of young, sharp-eyed director Cornelia Rainer, theatre woman and of the music, which speaks to the confessions of the soul and the obligations of every citizen in his respective era, regardless whether the end of the 19th or the early 21st century. /Hottello.com

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PÜNKTCHEN AND ANTON, BURGTHEATER KASINO 2015 
Tot, don‘t stare romantically. Splendid play: Erich Kästner‘s ‚Anna Louise and Anton‘ in the Burgtheater‘s Kasino. Rainer delivers the Wiener Burg with work reminiscent of the spirit of the crazy film – Dane Lars von Trier. She risks a lot and wins everything.“ /Der Standard


THE SEVEN DEADLY SINS, TYROLEAN FESTIVAL ERL 2014
The director took a reserved, sharp approach and had of course the satires of Bertold Brecht and Kurt Weill at hand for the The Seven Deadly Sins. /Tiroler Tageszeitung

 

THE TALE OF THE OLD MAN, FESTIVAL WIEN MODERN 2014 
Rainer directs the 50-minute spec- tacle with a rhythmic sensitivity. The four actors and three musicians im- press with a strong and harmonious performance. /Wiener Zeitung
 


JOAN, THEATER DSCHUNGEL WIEN 2013 
FAN-TAS-TIC. A wonderful play and four great actresses, so to speak, share a role but they multiply at the same time, and make the role of Joan universally relevant. They perform wonderfully together – whether in the scenes where they speak in synchronicity, or simply in common scenes, they are precisely timed, whether immersed in the ancient yet modern version, or the contemporary Johanna.” /Kurier

 

THE TEMPEST, NATIONALTHEATER KLAFGENFURT 
In this seemingly fragile acoustic and visual space, Rainer goes without great effects in favor of the actors whom she makes the center of attention. /Der Standard



JAKOB MICHAEL REINHOLD LENZ, SALZBURG FESTIVAL 2012 
Brilliant „LENZ. A star is born“, one could say about Cornelia Rainer, albeit she has already accomplished a lot, directing at the Burgtheater- Vestibül and the Hamburger Thalia Theater. /Die Presse

 

I WANNA BE (MADE), THEATER DSCHUNGEL WIEN 2012  一台述中国故事,奥地利学生励志的儿童,近日在博物区的儿童院上演,吸引了多中小学生和家。日前,我走进剧,挤满了跟着老来的学生。 /Guan Ming Daily Newspaper in Peking
 

RICHARD II., THALIA THEATER HAMBURG 
The Monologue of a King is a suggestion and not a bad one. Brecht‘s old (and good) question game would ask, whether we can edit Shakespeare (Answer: Yes, whenever we can manage it!), is received extremely positively./Deutschlandfunk

 

EXPLODED, BURGTHEATER VESTIBÜL 2008 The infallible sense of tempo that Rainer demonstrates over ninety minutes as well as the amazing precision with which she directs even small scenes leaves no doubt: this is not the last you will hear of this director. /Nachtkritik

 

ONLY ONE FACE, BREGENZ FESTIVAL 2008
You rarely experience so much common breathing. Cornelia Rainer worked on this project with great respect and commitment. An evening that lingers in the memory. The entertaining opening of „Kunst aus der Zeit“ ended with prolonged applause, Bravos, and a musical encore. /Vorarlberger Nachrichten
 


PLUS ZERO COMMA FIVE WINDSTILL, BURGTHEATER VESTIBÜL 
Chatting a lot and saying nothing is also an art of its own. Young stage director Cornelia Rainer who already caused a sensation with the play Heimfindevermögen, written by herself, elevates the speechlessness without theatrical effects. A special evening at the theater. /Kronen Zeitung


THE ABILITY OF FINDING HOME, BURGTHEATER KASINO 
A convincing production, gently narrated in a tone full of simplicity. /Kronen Zeitung