»La Juive«, Nürnberg
Lead by Guido Johannes Rumstadt, the Staatsphilharmonie is able to convincingly produce an agressive and jarring sound, with the mass-scenes building up to blinding splendour. Contrasting to this on the other hand are intimate scenes, balanced colourfully and with psychological insight as well as voice-flattering arias and ensembles.
Thomas Heinold · Nürnberger Zeitung, 19.1. 2016
The orchestra under the baton of Guido Johannes Rumstadt combines purified rigidity with the most tender lyricism.
Egbert Troll · Süddeutsche Zeitung, 19.1.2016
Guido Johannes Rumstadt, by now known as the belcanto-expert of Staatsoper Nürnberg, had efficiently purified the score, eliminating unnecessary repetitions and scenes. With the Staatsphilharmonie he presented a convincing plea for the viability of this music, enriched with elegancies.
Jens Voskamp · Nürnberger Nachrichten, 19.1.2016
Guido Johannes Rumstadt, who has become Nurembergs expert for the Grand Opera during the last years, handles the effects Halevy builds his opera on with care and almost academic precision. He puzzles and places accents as if he was working with tweezers, leaving much artistic space to the singers.
Dieter Stoll · Die Deutsche Bühne, 18.1.2016
Concert Philharmonie Merck, Darmstadt
In this sunday’s concert “French Dreams”, Nuremberg’s first Kapellmeister Guido Johannes Rumstadt was able to score. He stands like a rock, moving not one inche from his conductor’s stand. Still he ignites fascinating, impressionistic sound-magic in Ravel’s secound “Daphnis and Chloe- suite”. A musical enchanter, he shows how to paint pictures with notes and make the orchestra glow: Rich and colourfully, with thoughtfully rationed climaxes, tender dabbers from the harps, birdlike chirping woodwinds and demanding questions from the strings, “Lever de jour” evolves.
As a contrast there is Hector Berlioz with his six Orchestra-songs “Les nuits d’ete”. Soprano Stephanie Schäfer commands the long breath one needs to perform this dreamy song-cycle. Especially when singing about death and farewell, her mezzo sonorously dives into the low tessitura. Using somber tones too, but with a very pleasant murk, Rumstadt paints the beginning of Cesar Franck’s Symphony in d-minor. The conductor stresses the proximity of this symphony to Bruckner’s œuvre in the craftily used colours and organ-like changes of sound. The secound movement shines with beautiful solos by cor anglais and horn. The final movement thrills by reliving the motives of the first two movements.
Albert Schmidt · Darmstädter Echo, 8.3.2016
»Le Nozze di Figaro«, Nürnberg
A la tête d’un Orchestre du Staatstheater de Nuremberg fort bien disposé, Guido Johannes Rumstadt se montre particulièrement attentif aux moindres inflexions du génie mozartien, avec un respect exceptionnel des demi-teintes. Grâce à un art subtil des gradations entre tempi vifs et tempi lents, et une attention constante portée au dialogue entre voix et instruments, le chef allemand a, la soirée durant, soutenu l’intérêt et placé les chanteurs dans un environnement favorable.
Emmanuel Andrieu · Opera Online, 22.12.2015
»Les Huguenots«, Nürnberg
The Staatsphilharmonie under the baton of Guido Johannes Rumstadt triumphs with keenness on detail and richness of the ensemble, as Meyerbeer did surely picture it.
Judith von Sternburg · Frankfurter Rundschau, 20.6.2014
In the end Kratzer’s production celebrates the imagination of the unthinkable, like Meyerbeer’s music: awestruck about history, ever changing between gravity and brutality, between powerful chorus scenes and exquisit intimate tenderness. During this four hours the magic of the Staatsphilharmonie’s interpretation under the baton of Guido Johannes Rumstadt lies especially in the tender, solistic moments.
Egbert Troll · Süddeutsche Zeitung 21.6.2014
In the end, Meyerbeers music almost increases the chaotic character of the plot, while it began with the choral melody in the overture, rather simple and solemn. Guido Johannes Rumstadt has a firm grip on the Staatsphilharmonie at all times. Especially pleasing are the wind instruments, supporting the libretto, for instance the fanatic credo of Marcel. Powerful fortissimi take turns with subtle accompaniment for duetti and arias, never sounding too strong. The intelligent cuts the conductor made do not disturb the listener as they do not change the piece’s structure. Like this, the opera plays just about four hours.
Renate Freyeisen · Opernnetz, 21.4.2016
»La Damnation de Faust«, Nürnberg
The Staatsphilharmonie, sensitively led by Guido Johannes Rumstadt, manages to bring Berlioz’ romantic music for Goethe’s classic drama to life, with all its many colours and dynamic nuances. At times tenderly, for instance in the dance of the air-spirits around Faust, who is lulled by Mephisto, the again painfully piercing, when the devil summons the fire-spirits in Grete’s chamber.
Dirk Kruse · BR online, 24.11.2014
»Mozart-Requiem«, Hans-Sachs-Chor, Marlis Petersen
Rumstadt conducts the musical essence, always offering subtle assistence, demanding the rehearsals’ zeal set on utter precision. The results are considerable, exactly shaped climaxes as well as clear structure, exemplary for instance in the dies irae.
Uwe Mitsching · Nürnberger Nachrichten, 2.12.2014