Der letzte Mann

“Becce’s setting is incomplete as only the piano and violin scores exist, giving Glanert, who has closely studied the instrumentation of Mahler and Ravel, the opportunity to prove his masterly art of stylistic adaptation. He commands the whole range of instrumental colours and works with quotations and pseudo-quotations; for instance, the revolving door in the hotel – which, ingeniously put into focus by Murnau, is in fact the linchpin of the film – inspires him to virtually redefine the second act of Puccini’s La Bohème... The audience was delighted.” (Wolfgang Schreiber, Süddeutsche Zeitung, 10 Feb 2003)