{"id":19419,"date":"2014-07-05T10:44:12","date_gmt":"2014-07-05T14:44:12","guid":{"rendered":"http:\/\/www.musicalamerica.com\/mablogs\/?p=19419"},"modified":"2018-02-08T08:05:46","modified_gmt":"2018-02-08T12:05:46","slug":"les-huguenots-de-nuremberg","status":"publish","type":"post","link":"http:\/\/www.musicalamerica.com\/mablogs\/?p=19419","title":{"rendered":"Les Huguenots de Nuremberg"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2014\/07\/nurembergLesHuguenots4.jpg\" alt=\"Martin Berner as the Comte de Nevers in Les Huguenots in Nuremberg\" width=\"400\" height=\"300\" \/><\/p>\n<p><span style=\"font-size: xx-small\">By ANDREW POWELL <br \/>Published: July 5, 2014<\/span><\/p>\n<p>NUREMBERG \u2014 In <a href=\"http:\/\/de.wikipedia.org\/wiki\/Tobias_Kratzer\">Tobias Kratzer<\/a>\u2019s new staging here of <em>Les Huguenots<\/em>, the Catholic Comte de Nevers is an artist, ostensibly a portraitist but reduced through wild daydreams to paint-hurling abstract expressionism. His subjects include other characters in Meyerbeer\u2019s <em>grand op\u00e9ra<\/em>, one result being that we are confined for the five acts to his studio, a Paris loft. No <a href=\"http:\/\/www.chenonceau.com\/\">Chenonceaux<\/a>, no bathing scene, no Cher, no Seine. As imagined by Nevers, Notre Dame\u2019s gargoyles stir to life and religious carnage ensues. When the curtain falls on Act V, we glimpse his latest work, a depiction of the 1572 <a href=\"http:\/\/en.wikipedia.org\/wiki\/St._Bartholomew%27s_Day_massacre\">Massacre de la Saint-Barth\u00e9lemy<\/a>: thrown red paint on a white base. Social standings inevitably blur in this remix of librettist Scribe\u2019s plan, not least that of Marguerite de Valois, would-be architect of Protestant-Catholic <em>entente<\/em> but now also <em>patrone<\/em> and farcical subject for the painter.<\/p>\n<p><a href=\"http:\/\/www.hfm-nuernberg.de\/hochschule\/hochschulgremien\/senat\/senat-detail\/899d4139c19b88c385c1d4dffc1d94de\/?tx_wtdirectory_pi1%5Bshow%5D=132\">Guido Johannes Rumstadt<\/a> led a trimmed version of the 1835 score Wednesday (July 2) at the genial 1,400-seat <a href=\"http:\/\/www.staatstheater-nuernberg.de\/\">Staatstheater N\u00fcrnberg<\/a>. He stressed momentum over Gallic refinement but accompanied attentively and built solid climaxes. The <a href=\"http:\/\/www.staatstheater-nuernberg.de\/index.php?page=konzert,staatsphilharmonie\">Staatsphilharmonie N\u00fcrnberg<\/a> cooperated, with enthusiasm offset by some lapses in ensemble. The <a href=\"http:\/\/www.staatstheater-nuernberg.de\/index.php?page=oper,ensemble\">Chor des Staatstheaters<\/a> marshalled discipline for its varied, tuneful duties, even when the staging undermined the effort \u2014 for instance during <em>Jeunes beaut\u00e9s<\/em>, the <em>choeur dans\u00e9 des baigneuses<\/em>, which made no sense delivered with the ladies plonked on Nevers\u2019 loft floor. Three of the seven principal roles were cast with singers of promise. Mezzo-soprano <a href=\"http:\/\/www.tennigkeit-agentur.de\/kuenstler\/mezzo\/judita-nagyova.html\">Judita Nagyov\u00e1<\/a>, as Urbain, brought firm focused sound and phrased elegantly, but her part was shortened. <a href=\"http:\/\/www.hrachuhibassenz.com\/\">Hrachuh\u00ed Bass\u00e9nz<\/a>, a lustrous soprano (Valentine), and <a href=\"http:\/\/stickert.ykom.de\/\">Uwe Stickert<\/a>, a clarion high tenor (the Huguenot Raoul de Nangis), conveyed romantic urgency. The production moves to Nuremberg sister city <a href=\"http:\/\/www.opera-nice.org\/\">Nice<\/a> in a future season.<\/p>\n<p>Photo \u00a9 Jutta Missbach<\/p>\n<p>Related posts:<br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=22811\">Zimerman Plays Munich<\/a><br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=23193\">Carydis Woos Bamberg<\/a><br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=12992\">Written On Skin, at Length<\/a><br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=29588\">With Viotti, MRO Looks Back<\/a><br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=8362\">Widmann\u2019s Opera Babylon<\/a><\/p>\n<div id=\"wp_fb_like_button\" style=\"margin:5px 0;float:none;height:34px;\"><script src=\"http:\/\/connect.facebook.net\/en_US\/all.js#xfbml=1\"><\/script><fb:like href=\"http:\/\/www.musicalamerica.com\/mablogs\/?p=19419\" send=\"false\" layout=\"standard\" width=\"450\" show_faces=\"false\" font=\"arial\" action=\"like\" colorscheme=\"light\"><\/fb:like><\/div>","protected":false},"excerpt":{"rendered":"<p>By ANDREW POWELL Published: July 5, 2014 NUREMBERG \u2014 In Tobias Kratzer\u2019s new staging here of Les Huguenots, the Catholic Comte de Nevers is an artist, ostensibly a portraitist but reduced through wild daydreams to paint-hurling abstract expressionism. His subjects include other characters in Meyerbeer\u2019s grand op\u00e9ra, one result being that we are confined for [&hellip;]<\/p>\n","protected":false},"author":23,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1598],"tags":[3252,3244,3247,3249,3253,3254,3243,3242,2339,3251,3255,3245,3250],"aioseo_notices":[],"_links":{"self":[{"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/19419"}],"collection":[{"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19419"}],"version-history":[{"count":26,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/19419\/revisions"}],"predecessor-version":[{"id":44010,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/19419\/revisions\/44010"}],"wp:attachment":[{"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19419"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=19419"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=19419"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}