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OPERA TODAY ARCHIVES »

Performances

08 Feb 2005

Nina Stemme as Marguerite in Frankfurt am Main

Ist so Wagners Isolde angezogen? Schwarzes Kleid, darüber blaue Kittelschürze. Bequemstiefel, Gummihandschuhe. Aber nein. Nina Stemme ist jetzt Marguerite in Gounods “Faust” in Frankfurt am Main. Ausgerechnet. Wagner hätte das nicht gefallen. Noch dazu ein Gretchen als verdruckste, sich an ihr Kruzifix-Kettchen klammernde Saaltochter in einem schmuddeligen Demenzpflegeheim. Isolde, das wird wieder im Sommer sein. In Bayreuth. Wo Nina Stemme freilich bereits auf dem Grünen Hügel debütiert hat: 1994 als Freia im “Ring”. Jetzt wird sie als irische Maid in Christoph Marthalers Inszenierung zurückkehren. Vielleicht sogar in Kittelschürze? Mal sehen, was der Kostümbildnerin Anna Viebrock so einfällt.

Mit Wonne leiden und sterben

Nina Stemme gilt als Sopranistin der Stunde. Jetzt ist sie in Gounods "Faust" in Frankfurt am Main zu hören

von Manuel Brug [Die Welt, 8 Feb 05]

Ist so Wagners Isolde angezogen? Schwarzes Kleid, darüber blaue Kittelschürze. Bequemstiefel, Gummihandschuhe. Aber nein. Nina Stemme ist jetzt Marguerite in Gounods "Faust" in Frankfurt am Main. Ausgerechnet. Wagner hätte das nicht gefallen. Noch dazu ein Gretchen als verdruckste, sich an ihr Kruzifix-Kettchen klammernde Saaltochter in einem schmuddeligen Demenzpflegeheim.

Isolde, das wird wieder im Sommer sein. In Bayreuth. Wo Nina Stemme freilich bereits auf dem Grünen Hügel debütiert hat: 1994 als Freia im "Ring". Jetzt wird sie als irische Maid in Christoph Marthalers Inszenierung zurückkehren. Vielleicht sogar in Kittelschürze? Mal sehen, was der Kostümbildnerin Anna Viebrock so einfällt.

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Nachbarin, euern Tropf!

Attraktiv, lebhaft, als Sängeroper ernst genommen: Christoph Loys Inszenierung von Gounods "Faust" an der Oper Frankfurt

VON HANS-KLAUS JUNGHEINRICH [Frankfurter Rundschau, 7 Feb 05]

Lag es ihm in den Genen, dass er sich so gerne mit dem Allerheiligsten der Kunst vereinigte? Es gelang ihm, dem französischen Komponisten Charles Gounod, das Präludium C-Dur aus dem 1. Band des Wohltemperierten Klaviers von J.S.Bach mit einer so angenehmen Vokalise zu verzuckern, dass es als Ave Marie wunschkonzertnotorisch wurde. Mit ebensolcher Ungeniertheit verwandelte er Goethes Faust zu einer grossen französischen Oper, die im Pariser Palais Garnier seit 1869 als nationales Repräsentationsstück zelebriert wurde, während in jenen frühen Jahren Georges Bizets weitaus genialere Carmen mit magerem Zuspruch an der bescheidenen Opéra comique dümpelte. Griff Charles Gounod zu den Sternen oder griffen diese nach ihm herunter?

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