Die Meistersinger Von Nurnberg is one of Wagner's finest operas, though also one of his longest. Don't let the length turn you off though, because I have always found Die Meistersinger Von Nurnberg vastly entertaining and delicate, and the Quintet is quite possibly the most beautiful piece that Wagner ever wrote. Of the various DVDs I've seen, the 2008 Katharina Wagner Bayreuth production is the only one I've disliked(and intensely too). This Glyndebourne production is one of the best ones.
While updated to the early 19th century or thereabouts, it is very true to the spirit of the opera and doesn't cheapen it in any way. The period detail is splendid to look at, both in costumes and sets, and evocative(having sort of stepping out of a time machine into this period), somewhat enclosed but always coherent and beautifully lit. David McVicar's stage direction here is exemplary, I have known McVicar to include some odd touches in his productions, but nothing in this production came across as odd. McVicar has many strengths in regard to his opera productions, he knows how to direct the singers, to portray their characters and their relationships, what mood to express and how to show any diversity to the opera in question. Every single one of those attributes are here. If there is any humour injected it is in the right place and is subtly funny, similarly if there are any melancholic elements it is done with genuine pathos. I'd go as far to say it is the most consistent work that McVicar has ever done.
The video directing does nothing to undermine the production values or McVicar's work. It is focused, unobtrusive and sensitive to whatever mood the music or stage direction is conveying. The picture quality is sharp and clear, while the sound is also very good, not making a mistake of favouring the singers over the orchestra or vice versa, the balance between the two are just right.
Musically, the production is equally outstanding and even more so I'd say. The orchestral playing is lush, powerful and nuanced, with all four sections- who all at some point or another have turns to shine, and shine they do- playing superbly with great musicality, textures and blending. It is granted a lighter sound than what you'd usually associate with Wagner, but considering the story of the opera and its themes it didn't come across as inappropriate in any way. The chorus react very well to the action, and the finale in the music promises to be rousing stuff and that is exactly so in the chorus' singing here. Vladmir Jurowski's conducting is equally great. His tempos are quick(not a bad thing in any way, Meistersinger benefits from this as long as it isn't too much) and incisive, and instead of being flashy he is successful in bringing out the lyricism and humanity of Meistersinger out.
Gerald Finley gives one of his best ever performances as Hans Sachs. He always has had a lovely warm voice, whether it was in roles like Figaro, Count Almaviva or Doctor Atomic, and this challenging role( Dietrich Fischer-Dieskau didn't even attempt Hans Sachs until he was about 50) doesn't seem to be taxing him at all. It is vocally beautifully rounded and he understands and paints his words better than most in the role. He also looks right at home, with his Sachs noble, wise, humorous and human. Johannes Kranzle is a splendid Beckmesser, a role that is easy to overplay(as demonstrated on record by Geraint Evans) but Kranzle has a lot of colourful personality and while he does Beckmesser being prissy he also makes us feel sympathy for him. He also sings the part, no signs of shouting or someone trying too hard to sound like another role like Mime for example.
Marco Jentzsch is an appealing and lyrical Walther, with a winning Prize Song. He also benefits from fitting the role physically also, which I've not seen all the time with other tenors singing Walther. Anna Gabler also fits physically the role of Eva, and she is also very charming and emotional, her rapport with Finley is very convincing as a result. Her voice is on the most part radiant and well controlled and shaped, with only occasional harshness high up letting her down, though not as badly as other sopranos taking on Wagner. Topi Lehpituu is very likable and youthful sounding as David, I'm more familiar with his Mozart but Lehpituu fits David quite nicely. Alistair Miles is the best I've seen him as Pogner, my opinion of him has varied depending on what I've seen him in. His bass voice is steady and expressive, much more suited I think than roles like King Phillip and Commendatore, and he is good natured and noble. Michaela Selinger doesn't disappoint either.
Overall, I have nothing to complain about this Meistersinger. Anyone who loves great singing and Wagner will find this a treasure in all respects. 10/10 Bethany Cox
While updated to the early 19th century or thereabouts, it is very true to the spirit of the opera and doesn't cheapen it in any way. The period detail is splendid to look at, both in costumes and sets, and evocative(having sort of stepping out of a time machine into this period), somewhat enclosed but always coherent and beautifully lit. David McVicar's stage direction here is exemplary, I have known McVicar to include some odd touches in his productions, but nothing in this production came across as odd. McVicar has many strengths in regard to his opera productions, he knows how to direct the singers, to portray their characters and their relationships, what mood to express and how to show any diversity to the opera in question. Every single one of those attributes are here. If there is any humour injected it is in the right place and is subtly funny, similarly if there are any melancholic elements it is done with genuine pathos. I'd go as far to say it is the most consistent work that McVicar has ever done.
The video directing does nothing to undermine the production values or McVicar's work. It is focused, unobtrusive and sensitive to whatever mood the music or stage direction is conveying. The picture quality is sharp and clear, while the sound is also very good, not making a mistake of favouring the singers over the orchestra or vice versa, the balance between the two are just right.
Musically, the production is equally outstanding and even more so I'd say. The orchestral playing is lush, powerful and nuanced, with all four sections- who all at some point or another have turns to shine, and shine they do- playing superbly with great musicality, textures and blending. It is granted a lighter sound than what you'd usually associate with Wagner, but considering the story of the opera and its themes it didn't come across as inappropriate in any way. The chorus react very well to the action, and the finale in the music promises to be rousing stuff and that is exactly so in the chorus' singing here. Vladmir Jurowski's conducting is equally great. His tempos are quick(not a bad thing in any way, Meistersinger benefits from this as long as it isn't too much) and incisive, and instead of being flashy he is successful in bringing out the lyricism and humanity of Meistersinger out.
Gerald Finley gives one of his best ever performances as Hans Sachs. He always has had a lovely warm voice, whether it was in roles like Figaro, Count Almaviva or Doctor Atomic, and this challenging role( Dietrich Fischer-Dieskau didn't even attempt Hans Sachs until he was about 50) doesn't seem to be taxing him at all. It is vocally beautifully rounded and he understands and paints his words better than most in the role. He also looks right at home, with his Sachs noble, wise, humorous and human. Johannes Kranzle is a splendid Beckmesser, a role that is easy to overplay(as demonstrated on record by Geraint Evans) but Kranzle has a lot of colourful personality and while he does Beckmesser being prissy he also makes us feel sympathy for him. He also sings the part, no signs of shouting or someone trying too hard to sound like another role like Mime for example.
Marco Jentzsch is an appealing and lyrical Walther, with a winning Prize Song. He also benefits from fitting the role physically also, which I've not seen all the time with other tenors singing Walther. Anna Gabler also fits physically the role of Eva, and she is also very charming and emotional, her rapport with Finley is very convincing as a result. Her voice is on the most part radiant and well controlled and shaped, with only occasional harshness high up letting her down, though not as badly as other sopranos taking on Wagner. Topi Lehpituu is very likable and youthful sounding as David, I'm more familiar with his Mozart but Lehpituu fits David quite nicely. Alistair Miles is the best I've seen him as Pogner, my opinion of him has varied depending on what I've seen him in. His bass voice is steady and expressive, much more suited I think than roles like King Phillip and Commendatore, and he is good natured and noble. Michaela Selinger doesn't disappoint either.
Overall, I have nothing to complain about this Meistersinger. Anyone who loves great singing and Wagner will find this a treasure in all respects. 10/10 Bethany Cox
