Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.

From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday

As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.

Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury

Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.

Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome

At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.

Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome

Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.

Die Zauberflöte brings mixed delights at the Royal Opera House

When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?

Haydn's La fedeltà premiata impresses at the Guildhall School of Music & Drama

‘Exit, pursued by an octopus.’ The London Underground insignia in the centre of the curtain-drop at the Guildhall School of Music & Drama’s Silk Street Theatre, advised patrons arriving for the performance of Joseph Haydn’s La fedeltà premiata (Fidelity Rewarded, 1780) that their Tube journey had terminated in ‘Arcadia’ - though this was not the pastoral idyll of Polixenes’ Bohemia but a parody of paradise more notable for its amatory anarchy than any utopian harmony.

Van Zweden conducts an unforgettable Walküre at the Concertgebouw

When native son Jaap van Zweden conducts in Amsterdam the house sells out in advance and expectations are high. Last Saturday, he returned to conduct another Wagner opera in the NTR ZaterdagMatinee series. The Concertgebouw audience was already cheering the maestro loudly before anyone had played a single note. By the end of this concert version of Die Walküre, the promise implicit in the enthusiastic greeting had been fulfilled. This second installment of Wagner’s The Ring of the Nibelung was truly memorable, and not just because of Van Zweden’s imprint.

Purcell for our time: Gabrieli Consort & Players at St John's Smith Square

Passing the competing Union and EU flags on College Green beside the Palace of Westminster on my way to St John’s Smith Square, where Paul McCreesh’s Gabrieli Consort & Players were to perform Henry Purcell’s 1691 'dramatic opera' King Arthur, the parallels between England now and England then were all too evident.

The Dallas Opera Cockerel: It’s All Golden

I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.

Luisa Miller at Lyric Opera of Chicago

For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.

Philip Glass: Music with Changing Parts - European premiere of revised version

Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).

Time and Space: Songs by Holst and Vaughan Williams

New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.

Wexford Festival Opera 2019

The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.

Cenerentola, jazzed to the max

Seattle Opera’s current staging of Cenerentola is mostly fun to watch. It is also a great example of how trying too hard to inflate a smallish work to fill a huge auditorium can make fun seem more like work.

Bottesini’s Alì Babà Keeps Them Laughing

On Friday evening October 25, 2019, Opera Southwest opened its 47th season with composer Giovanni Bottesini and librettist Emilio Taddei’s Alì Babà in a version reconstructed from the original manuscript score by Conductor Anthony Barrese.

Ovid and Klopstock clash in Jurowski’s Mahler’s ‘Resurrection’

There were two works on this London Philharmonic Orchestra programme given by Vladimir Jurowski – Colin Matthews’s Metamorphosis and Gustav Mahler’s ‘Resurrection’. The way Jurowski played it, however, one might have been forgiven for thinking we were listening to a new work by Mahler, something which may not have been lost on those of us who recalled that Matthews had collaborated with Deryck Cooke on the completion of Mahler’s Tenth Symphony.

Birtwistle's The Mask of Orpheus: English National Opera

‘All opera is Orpheus,’ Adorno once declared - although, typically, what he meant by that was rather more complicated than mere quotation would suggest. Perhaps, in some sense, all music in the Western tradition is too - again, so long as we take care, as Harrison Birtwistle always has, never to confuse starkness with over-simplification.

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

OPERA TODAY ARCHIVES »

Reviews

Gerald Finley as Hans Sachs [Photo by Alastair Muir courtesy of Glyndebourne Festival]
24 May 2011

Die Meistersinger von Nürnberg, Glyndebourne

Glorious sunshine for Glyndebourne Opera’s Die Meistersinger von Nürnberg on the eve of Richard Wagner's birthday.

Richard Wagner: Die Meistersinger von Nürnberg

Hans Sachs: Gerald Finley; Walther von Stolzing: Marco Jentzsch; David: Topi Lehtipuu; Sixtus Beckmesser: Johannes Martin Kränzle; Eva: Anna Gabler; Magdalene: Michaela Selinger; Veit Pogner: Alastair Miles; Fritz Kothner: Henry Waddington; Kunz Vogelgesang: Colin Judson; Konrad Nachtigall: Andrew Slater; Balthasar Zorn: Alasdair Elliott; Ulrich Eisslinger: Adrian Thompson; Augustin Moser: Daniel Norman; Hermann Ortel: Robert Poulton; Hans Schwarz: Maxim Mikailov; Hans Foltz: Graeme Broadbent; A Nightwatchman: Mats Almgren. Conductor: Vladimir Jurowski. London Philharmonic Orchestra. The Glyndebourne Chorus (Director: David McVicar). Designer: Vicki Mortimer. Lighting designer: Paule Constable. Movement director: Andrew George. Fight director: Nicholas Hall. Glyndbourne Opera; 21st May 2011.

Above: Gerald Finley as Hans Sachs [Photo by Alastair Muir courtesy of Glyndebourne Festival]

Click here for a photo gallery and other production information.

 

Glyndebourne is Britain’s equivalent of Bayreuth. Although its repertoire is obviously more varied, it’s a place of pilgrimage because it is iconic, the first and greatest of the English summer opera festivals. There are photographs of John Christie, Glyndebourne’s founder, in an amateur staging of Die Meistersinger in the 1930’s, but this is the first full production, as it’s a big opera for a house which even now seats barely 1100. But Glyndebourne has always been ambitious. How proud Christie would be to see this fulfillment of his dreams!

Because the theatre at Glyndbourne is more intimate than at Bayreuth, a bombastic, Teitjen-style production would be overwhelming. However, Vladimir Jurowski, Glyndebourne’s Music Director, has vision. He’s intuited how well Die Meistersinger von Nürnberg fits in with Glyndebourne’s open-air, countryside ethos. This is an opera where Nature plays a big role. Walther von Stolzing learned to sing by listening to birdsong. The Prize Ceremony takes place in a meadow. Summer and new growth infuse the whole spirit of the opera.

Heavy handed approaches underline grandeur, which is appropriate for the Meistersingers in procession, or for authoritarian interpretations of the choruses in the Third Act. But Jurowski understand the soul of this opera. He emphasizes the freedom and liveliness in Wagner’s music. The overture tumbles along vivaciously. He keeps textures light and bright, so they shine. This is a very different Meistersinger from some versions we’re used to but it’s true to score and to the meaning of the opera.

Hans Sachs is a cobbler, who sees all men’s shoes — the ultimate leveler. He doesn’t judge people by background but by who they are. He can spot Walther von Stoltzing’s true nobility when the Meistersingers ridicule him as an outsider. And that nobility comes from Art, not status or tradition.

Die Meistersinger von Nürnberg is comic, but not comedy. It’s subversive. Beckmesser is the Town Clerk, thus symbol of the Establishment and authority. That’s why Pogner’s happy to marry his daughter off, and why the Meistersingers obey him when he ridicules Walther, who lives for pure art. Sachs opposes mob thinking, whether the mob are his fellow Meistersingers, or the townsfolk, fighting mindlessly in the streets. He protects Walther by giving him a chance to express his talent. Just as Sachs doesn’t march to anyone’s tune, neither will Walther. If Hitler had had any inkling of what Die Meistersinger really is about, he might not have been quite such a fan.

Sachs wasn’t fiction, but a real man who lived in the 16th century, when Germany was split apart by religious wars. Nuremberg was a Protestant island in the sea of Catholic Bavaria. The Papacy implied rule from Rome, regional cultures and languages suppressed by the dominance of Latin.

“Heilige Deutsche Kunst” refers quite specifically to the concept of emerging German identity which started with the translation of the Bible into the vernacular and the Reformation. “Should the Holy Roman Empire end”, sing the townsfolk, “German values won’t end”. Just as Sachs and his peers rejected Rome and what it stood for, Wagner was turning from French and Italian opera, to create anew. It’s not necessarily negative, xenophobic or Nazi, for it marks the fundamental change in social attitudes the Reformation brought about. So, freedom and renewal are very much part of Die Meistersinger.

Jurowski conducts the London Philharmonic Orchestra as if it were a large chamber ensemble. Different threads are clearly defined, bringing out the almost contrapuntal flow in the music, where the different groups jostle together. The dynamic is vivid, and Jurowski’s deft touch doesn’t let it become congested, even in moments when different groups clash. The meadow scene with its massed voices and contrasting themes can become a disorganized mess, but Jurowski makes it possible to hear each sub-group’s individual character. Just as Sachs treats all as equals, Jurowski keeps a tight balance which lets the music shine.

This production (David McVicar, director, Vicki Mortimer, designer) is joyful. The apprentices are wonderfully energetic and “rude” in the best sense of the word. They leap and dance with the precision of workmen who are mastering their craft. They’re the future, just as Walther is. The apprentice’s music brought very animated playing from the orchestra — those sharp cracks and beats were made for rustic dance and exuberance. Topi Lehtipuu’s David sings with vigour, giving greater depth to the role than it sometimes gets. He acts like he’s put upon, but he’s a strong personality. Sachs would hardly take on a stupid apprentice, nor promote him to Gesellen. Lehtipuu’s David is convincingly the next Sachs in embryo.

But why is the opera updated to the early 19th century? Perhaps McVicar’s making a connection to Beethoven and Goethe, but the link is remote and adds nothing. Act One is dominated by a huge fan-vaulted ceiling. Of course, Walther and Eva meet in church, but it’s a major misreading of the opera. Wagner and Sachs aren’t upholding the Church but offering alternatives to traditional authority.

If anything, this is an opera about the freshness of nature, which is why the tree in the town square and the meadow play a part. Nuremberg in Sachs’s time was a warren, where the community lived in claustrophobic proximity. This elaborate ceiling means that Sachs’s workshop becomes something decidedly upper class, which destroys the idea of Sachs as a humble man of the people, who is elevated by his art. Wagner sent the Town Clerk into the cobbler’s workshop to show up the contrast in their status.

Hans Sachs isn’t a role one might associate with Gerald Finley, so there’s no point in comparing him to some of the iconic Sachs’s of the past. Finley’s voice is in reasonably good shape, so his Sachs is a refined, understated characterization. It emphasizes the poet in Sachs more than the cobbler, but it works well enough. Finley is convincing in the long monologue. “Wahn, Wahn, überall Wahn” is a sentiment anyone can identify with, whatever the context.

Johannes Martin Kränzle is an effective Sixtus Beckmesser. He’s the most elegant man in town, who’s always got up in finery, unlike the locals who save it for festive occasions. The part could use more malice, but Kränzle spinned out the curling lines sinuously and moved like a viper. At the end, when he played his lute like an air guitar, it was hilarious. Anna Gabler sang Eva as a charming ingénue, at her best in the final scene where she at last can openly declare her love. The quintet was delicious, the three central figures haloed by the two lesser roles.

Marco Jentzsch’s Walther von Stoltzing was extremely impressive. This is a singer to watch as we desperately need new Heldentenors, or at least tenors with good range and dramatic stage presence. Jentzsch is tall and handsome, which helps, but his singing is his greatest asset. The voice is warm but assertive, and he uses it with intelligent expressiveness. This was Prize Song to cherish, beautifully fresh and pure, yet tinged with commitment. For someone relatively young, he’s mature. Walther, after all, is an independent spirit who even when he wins, doesn’t want to join a group. While he looked dazzling in his Hussar costume, it was an interpretive mistake, since Walther is a leaderless wanderer who doen’t do status or adhere to outward form. “Nein, Meister, nein!” Jentzsch is so good, however, that you focus on the singing, not the suit.

Though this production doesn’t plumb the subversive depths of this rewarding opera, it’s exuberant and uplifting, especially in the final scene, where all the threads are drawn together. Jurowski and the London Philharmonic are so vibrant that they bring insight into the inner dynamic of the music. Wagner and Sachs are much deeper, but in these discordant, polarized times, take heed of the message of this Glyndebourne Die Meistersinger von Nürnberg. Harmony is a lot more difficult to achieve than it seems. This production may be sunny but it’s not shallow.

Wagner’s Die Meistersinger von Nürnberg continues at Glyndebourne Opera until 26th June. It will be screened live on HD in cinemas and also available online. For more information please visit the Glyndebourne Opera website.

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):