– on Hydra (Reinhold Schinwald)
“A brilliant, electrifying work…"
Reviews, voices...
on Die Wand (Marlen Haushofer)
“Above all, this adaptation of 'Die Wand' is a furious solo by actress Gina Mattiello. She plays a woman who meets this dystopian end-of-the-world scenario with strength and humility – somewhere between an irrepressible will to survive and the knowledge that everything comes to an end. Absolutely worth seeing."
on Die Wand
“A condensed dystopia. In her solo, Gina Mattiello traces the elusive central figure in a gripping way."
on Die Wand
“In the very successful and condensed text version of the novel, Gina Mattiello embodies a woman who, with pragmatism and love, transforms captivity within the self into freedom – and does so in quiet tones. She moves deliberately and deftly through the somewhat musty atmosphere of the place. Hardly any props are needed, and the few that appear are rather symbolic in nature. Nevertheless, a believable and intellectually gripping atmosphere of an enforced retreat into the simple life emerges – one that turns out to be a chance to lead a free, independent and contented life. Above all, it is the great credibility with which Gina Mattiello embodies the nameless protagonist that turns this evening of theatre into a decelerating total work of art."
on Gabriel
“They do not tear Gabriel out of his time, yet they manage to find echoes of the present and turn the costume drama into a timeless struggle for identity."
on Ingeborg Bachmann / Max Frisch: Wir haben es nicht gut gemacht
“Gina Mattiello reads Bachmann's texts without any acting whatsoever. A stroke of luck of the first order."
on Aufzeichnungen einer Blinden
“Something extraordinary was achieved in the collaboration between büro lunaire and Theater Quadrat in their 'live radio play in the dark'. Fitted with eye masks, the audience are led to their seats and remain there until the end of the piece without any visual input. The focus is on what presents itself acoustically: on a text (Gina Mattiello) born of conversations with blind people, and on the composition (live: Reinhold Schinwald, Germán Toro-Pérez). The awareness that one would normally see something in a theatre makes the situation of a blind person genuinely a little more tangible thanks to the given setting. Contemporary music contributes an essential part to empathising with the experience of a blind person – these mostly crystal-clear paintings of tone and sound. An eye-opener in the darkness!"
on Quartett (Heiner Müller)
“How powerfully Gina Mattiello and Ninja Reichert play with the source material, entering a contest of words with an insistent presence, leaves a lasting impression. The two performers never let themselves be shaken off by Heiner Müller's apocalyptic reckoning with deformed humanity; instead they maintain a playful handling of the thought structures of sexuality and power, presented with a fine blade of language. Well-deserved, hearty applause."
on Quartett
“An atmospheric pull arises that quickly draws you in."
on Aufzeichnungen einer Blinden
“The audience were fitted with blackout glasses before the entrance and led to their seats. To those sitting in the dark, büro lunaire offered a unique experience with musicians of the Schallfeld Ensemble. The delicate voices of Gina Mattiello (text) and Ninja Reichert gave insight into the thoughts and feelings of a girl who goes blind. A haunting experience that powerfully shows how strongly sight dominates the human senses."
on Land ohne Worte (Dea Loher)
“A strong performance by Gina Mattiello. Strong in her language, with radical emotionality."
on Land ohne Worte
“Haunting minimalism. Ernst M. Binder's direction confronts the strong soloist Gina Mattiello mercilessly with herself."
“A subtle interplay of language and sound, translated into a broader meditation on identity, self-determination and dependence. A successful, unobtrusive evening of music theatre!"
on Wolokolamsker Chaussee (Heiner Müller)
“With Vera Hagemann, Mona Kospach, Gina Mattiello and Ninja Reichert, every full stop, every comma, every pause is in its place. Although the characters function as archetypes within a political context, the four nonetheless manage to give them personality and character."
“A vocal delight. In the background, in a white suit with a painted-on moustache, voice performer Gina Mattiello sets the ironic tone."
“…ideally embodied by the actress Gina Mattiello. She is a dual, split person who seems to be speaking with her son. One hears reproaches, but also small moments of happiness. It is an introspection of her soul without offering any solutions."
Read more at Opernnetz
“…while Gina Mattiello played the role of the woman in Zesses Seglias' 'Hystéra' very impressively on stage."
“In the chorus of speakers, the 'second fiddle', Gina Mattiello, often has what is really the first word: she is a seasoned voice performer and is credited as co-responsible for the musical concept."
“At the heart of this indictment of inhumane technological mania … Ronja Jenko, Eva Kessler, Mona Kospach, Gina Mattiello, Ninja Reichert and Werner Halbedl traverse Jelinek's meanders of language and thought with virtuosity …"
“The 'lived moment' spoken of in Wolfgang Hofer's text becomes a gripping event here, and even those overcome by night-time tiredness will surely have been enchanted by the longing-filled poetry…"
“Effortlessly intense, voice performer Gina Mattiello shifts back and forth between text and commentary personae, driving the suddenness out of every flaring restlessness towards eternity."
“One had to capitulate with enthusiasm before Gina Mattiello's performance. The woman is a verbal marathon runner. For twenty minutes the actress spoke dream protocols… at record speed."