HAMLET, OPHELIA AND THE OTHERS  by Cornelia Rainer and Stephan Lack, 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 by Monika Helfer, Philharmony Luxemburg 2017, Musée Dräi Eechelen „Sensitive theater and full of imagination for the little ones. Cornelia Rainer combines music and acting at the highest level.” /Junge Welt Luxemburg

MARAMBA by Paula Köhlmeier, 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 by Ferdinand Raimund, 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 after Georg Büchner, The Avignon Festival 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

"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." /

PÜNKTCHEN AND ANTON after Erich Kästner, 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 by Bertolt Brecht and Kurt Weill, 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 by Cornelia Rainer, Festival Music Festival Wien Modern and Theater Dschungel Vienna 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 by Cornelia Rainer, Theater Dschungel Vienna 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 by William Shakespeare, National Theater Klagenfurt 2012 „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 after Georg Büchner, 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 Vienna 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., as a monologue, after William Shakespeare, Thalia Theater Hamburg 2009 „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 by Andreas Liebmann, Burgtheater Vestibül 2009 „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 with texts by Angelika Rainer, 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 2008 „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 HOMEBurgtheater Kasino 2007 „A convincing production, gently narrated in a tone full of simplicity.“ /Kronen Zeitung