Rating: 
Summary: Meistersinger - as good as can be.
Review: After watching that modern day singing contest -The American Idol- I am happy that this wonderful custom of singing for a prize is still part of the young people's world today. I suppose Wagner was ahead of his time using this idea in two of his operas (Tannhauser and Die Meistersinger) as a great musical and dramatic device.
Tristan und Isolde and Die Meistersinger stand as probably the two greatest operas of the 19th century but they couldn't be more different from each other. It is one of the greatest mysteries of Wagner's genius,how he could change his style from the ecstatic chromaticism of Tristan to the optimistic, straightforward C-major tonality and counterpoint of the Meistersinger. But of course Wagner had his own agenda. Die Meistersinger was a way of showing his frustration of getting his "music of the future" (Zukunftsmusik) accepted by the musical establishment (led by Brahms) and also to get back at his critics, mainly Edouard Hanslick, his nemesis. This he did with a vengeance by the character of Beckmesser, the jealous and wicked little town-clerk who can only criticize, but incapable of understanding new ideas and create anything worthwhile. So much for introduction.
First of all I find it hard to forgive ARTHAUS for not releasing this DVD sooner in North America.. It has been available in PAL version in Europe since 2001 and was nominated for Gramophone Magazine Awards that year. It came in third, but only because of the extremely stiff competition (The Damnation of Faust won, also by ARTHAUS).
But I truly love this DVD. A sumptuous live performance from the prestigious Deutsche Oper ,beautifully directed and staged by Gotz Friedrich, gives us a somewhat new look at this magnificent work.
The opera has been slightly modernized, brought to the 19th century but this is hardly noticeable apart from the costumes. The town of Nurnberg is really still the same. The director and designer wisely make reference to the destruction of this city in the War using graphics of a rickety toy-city between acts. They also emphasize the object-lesson of Sachs' warning to Germany not to get too warlike and hungry for territory .At this point the stage goes abruptly quite dark in the middle of the 3rd act celebrations to somehow foreshadow a future disaster. A very powerful statement indeed.
The second interesting point is the handling of Hans Sachs. Here he is represented as one of the working class . " He looks like Lech Walesa," says the Penguin Guide. He is also younger and still virile, and as such it is justifiable that he is still interested in Eva romantically. In fact he is quite a Freudian Hans Sachs.
Wolfgang Brendel is tremendous in this role. His wonderful dramatic ability illuminates the whole performance. His voice is very good, though sometimes I felt it was a bit out of focus, but this being a live performance nearly five hours long, it is quite understandable.
On the other hand Gosta Windbergh as Walther von Stoltzing is no better than satisfactory. Eva Johansson as Eva Pogner
develops her character nicely along the performance though some stressful moments are noticeable. She shines in the third act Quintet however, and contributes wonderfully to one of the most sublime moments in the opera.
I liked the secondary roles very much: Uwe Peper as David with excellent voice and acting energy, never boring. Ute Walther as Magdalena looked very good and stylish and also had a fine voice.
One musn't forget Eike Wilm Schulte, Beckmesser: great character actor singing the role very well.
Among the Meisters of course Pogner , Victor von Halem, a strong basso, well focused. In a lesser role, Fritz Kothner, Lenus Carlson, builds his " master of ceremonies" role interestingly. All the other Meisters are delightfully individualistic, each with his own idiosyncrasies, so the whole first act is a joy to watch and hear.
Frubeck de Burgos handles the majestic contrapunctal score with great Wagnerian authority and knowhow.
I still could go on. To sum up: A wonderful, inspired and imaginative performance with slight vocal imperfections. If you want a " perfect" Meistersinger CD set, go for the Jochum with Fischer-Dieskau, Placido Domingo etc. on DGG.(also by Deutsche Oper). This is the best one I ever heard.
Two DVD's with excellent illustrated booklet, neatly presented. Highly recommended.
Rating:
Summary: Meistersinger - as good as can be.
Review: After watching that modern day singing contest -The American Idol- I am happy that this wonderful custom of singing for a prize is still part of the young people's world today. I suppose Wagner was ahead of his time using this idea in two of his operas (Tannhauser and Die Meistersinger) as a great musical and dramatic device.
Tristan und Isolde and Die Meistersinger stand as probably the two greatest operas of the 19th century but they couldn't be more different from each other. It is one of the greatest mysteries of Wagner's genius,how he could change his style from the ecstatic chromaticism of Tristan to the optimistic, straightforward C-major tonality and counterpoint of the Meistersinger. But of course Wagner had his own agenda. Die Meistersinger was a way of showing his frustration of getting his "music of the future" (Zukunftsmusik) accepted by the musical establishment (led by Brahms) and also to get back at his critics, mainly Edouard Hanslick, his nemesis. This he did with a vengeance by the character of Beckmesser, the jealous and wicked little town-clerk who can only criticize, but incapable of understanding new ideas and create anything worthwhile. So much for introduction.
First of all I find it hard to forgive ARTHAUS for not releasing this DVD sooner in North America.. It has been available in PAL version in Europe since 2001 and was nominated for Gramophone Magazine Awards that year. It came in third, but only because of the extremely stiff competition (The Damnation of Faust won, also by ARTHAUS).
But I truly love this DVD. A sumptuous live performance from the prestigious Deutsche Oper ,beautifully directed and staged by Gotz Friedrich, gives us a somewhat new look at this magnificent work.
The opera has been slightly modernized, brought to the 19th century but this is hardly noticeable apart from the costumes. The town of Nurnberg is really still the same. The director and designer wisely make reference to the destruction of this city in the War using graphics of a rickety toy-city between acts. They also emphasize the object-lesson of Sachs' warning to Germany not to get too warlike and hungry for territory .At this point the stage goes abruptly quite dark in the middle of the 3rd act celebrations to somehow foreshadow a future disaster. A very powerful statement indeed.
The second interesting point is the handling of Hans Sachs. Here he is represented as one of the working class . " He looks like Lech Walesa," says the Penguin Guide. He is also younger and still virile, and as such it is justifiable that he is still interested in Eva romantically. In fact he is quite a Freudian Hans Sachs.
Wolfgang Brendel is tremendous in this role. His wonderful dramatic ability illuminates the whole performance. His voice is very good, though sometimes I felt it was a bit out of focus, but this being a live performance nearly five hours long, it is quite understandable.
On the other hand Gosta Windbergh as Walther von Stoltzing is no better than satisfactory. Eva Johansson as Eva Pogner
develops her character nicely along the performance though some stressful moments are noticeable. She shines in the third act Quintet however, and contributes wonderfully to one of the most sublime moments in the opera.
I liked the secondary roles very much: Uwe Peper as David with excellent voice and acting energy, never boring. Ute Walther as Magdalena looked very good and stylish and also had a fine voice.
One musn't forget Eike Wilm Schulte, Beckmesser: great character actor singing the role very well.
Among the Meisters of course Pogner , Victor von Halem, a strong basso, well focused. In a lesser role, Fritz Kothner, Lenus Carlson, builds his " master of ceremonies" role interestingly. All the other Meisters are delightfully individualistic, each with his own idiosyncrasies, so the whole first act is a joy to watch and hear.
Frubeck de Burgos handles the majestic contrapunctal score with great Wagnerian authority and knowhow.
I still could go on. To sum up: A wonderful, inspired and imaginative performance with slight vocal imperfections. If you want a " perfect" Meistersinger CD set, go for the Jochum with Fischer-Dieskau, Placido Domingo etc. on DGG.(also by Deutsche Oper). This is the best one I ever heard.
Two DVD's with excellent illustrated booklet, neatly presented. Highly recommended.
Rating: 
Summary: Wagner's Happiest Opera
Review: As Richard Wagner was commenting on the rigidity and closedmindedness of the music critics of his day, the role of the character Beckmesser is pivotal. Fortunately, this production's Beckmesser is alternately pedantic, sycophantic, officious and tedious--in a word: he's perfect!
The opera makes the point that minds must be kept open to new ideas, while still retaining an understanding of what makes "classical" classic.
The acting and singing are excellent in this 1995 production. I would have preferred more elaborate sets and costumes, (but that's just me). The Johannestag festival music is some of the brightest and happiest, so much so that those who think Wagner is always heavy and ponderous, will scarcely believe their ears. This is Wagner's happiest opera.
Rating:
Summary: A Superb 'Meistersinger' Directed by Götz Friedrich
Review: I cannot imagine what the previous reviewer was referring to when he said that Wolfgang Brendel plays Hans Sachs as a clown. This is simply not true. Perhaps he came to this opinion because that reviewer feels, as he says, that Sachs is supposed to be a craggy old man. But this is not the case if one takes the time to read Wagner's own libretto. It is clear that Sachs is a widower who is actually not THAT old. Further, his lines indicate that he is a very human, wise, kind-hearted fellow. True, he apparently is mean to his apprentice, David, but apparently that was the custom of the day; he treats David with rough humor, and indeed late in the opera he rewards David by making him a journeyman cobbler, and there is evidence that he is genuinely fond of him. The production is from the Deutsche Oper Berlin from 1995, before the end of Götz Friedrich's reign as the principal director there. He was known world-wide as one of the best opera directors around, and this production certainly is consistent with that reputation. The acting is detailed, very human, and on repeated watching one picks up little true-to-life bits that one didn't notice first time around, often the mark of a great director. The sets and costumes (by Peter Sykora and Kirsten Dephoff) are appropriate if not precisely historically accurate. The television direction by Brian Large is creative and inobtrusive; my only complaints on that score are the tilted still views of a mock-up village made to represent medieval Nuremberg; these were seen during the preludes for Acts I and III. The views made me a little dizzy. The chorus is splendid. The action during the gathering of forces leading up to the Song Contest in Act III is striking and full of life. The mêlée in Act II is both funny and life-like. One notes in Act III that some of the participants, including a couple of the younger Masters, are bandaged or limping as a result of it - a funny touch. As to the music and theatrical values, I cannot compliment this production enough. Gösta Winbergh's Walther von Stolzing is noble and beautifully sung in a free and soaring voice. His Prize Song is thrilling. Eva Johannson, a zaftig Eva, is winsome and in beautiful voice. Her opening solo lines in the Quintet are simply ravishing. The scene between her and Sachs in Act II is touching at least partly because one CAN imagine the possibiliy of a marriage between them. Victor von Halem makes an imposing and noble Pogner amply conveyed both visually and vocally. It was good to see two venerable American singers, Lenus Carlson and Barry McDaniel, as Masters Kothner and Nachtigall. Ute Walther's Magdalene was saucy and knowing, rather than shrill as she is sometimes portrayed. Uwe Peper, although a little long in the tooth for the apprentice David, is both wonderfully sung and acted. I'm one of the few who truly enjoy David's rather long instruction of Walther in the prescribed musical 'Weisen' in Act I and he did that very well. The Sixtus Beckmesser of Eike Wilm Schulte was extraordinarily well sung (the equal of the classic portrayal on record by Hermann Prey) - it is often sung in a barking and 'comic' voice, which takes away from the humor for me - and his acting as the self-important town cleark and 'Merker' was spot on. His reconciliation with Sachs at the end is moving. As for Wolfgang Brendel, I can't say enough good about his performance. He plays Sachs as an all-too-human man, a widower who is lonely and tempted by a marriage to Eva but which he rejects (I thought of him as a male Marschallin as he portrayed his renunciation of his desires in favor of the nobleman, von Stolzing). But he also has a sense of humor, the sort that comes from wisdom and some degree of knowing detachment. He is never nasty, and in some moments, as with Eva, Walther and eventually with David, he is generous and warm-hearted while remaining self-disparagingly genial. Brendel not only sings splendidly (both the Flieder-Monolog and 'Wahn, wahn' are superb), but he presents us with a fully rounded character. Musical direction is in the more than capable hands of Rafael Frühbeck de Burgos. The Deutsche Oper orchestra plays like angels. Did I like this production? You bet I did. I watched it twice in a period of two days, and that's saying a lot for an almost five-hour opera. I will admit, though, that 'Meistersinger' is my favorite Wagnerian opera - the only one with 'real' people in it, as far as I'm concerned - and I never develop Sitzfleisch at a performance or when listening to it on CD. A complete triumph. Scott Morrison
Rating: 
Summary: Wolfgang Brendel is a flaw
Review: I own a VHS copy of this performance. Wolfgang Brendel plays Hans Sachs as a big clown. He acts without wisdom and sings without depth of feeling. Sachs is supposed to be a craggy old man; Brendel sounds and moves like someone in his thirties or early fourties with jerky hand gestures and a rapid gait. More like Papageno, really, than Sachs. The redeeming performance here is delivered by Eike Wilm-Schulte, one of the finest lyric midrange baritones singing today, who brings Beckmesser to life as a real character with passions and demonstrates absolute technical mastery of this very challenging musical line. Gosta Windbergh sounds relaxed and comfortable with his role as Walther. Eva Johansson is charming and correctly pitched.
Rating:
Summary: Wolfgang Brendel is a flaw
Review: I own a VHS copy of this performance. Wolfgang Brendel plays Hans Sachs as a big clown. He acts without wisdom and sings without depth of feeling. Sachs is supposed to be a craggy old man; Brendel sounds and moves like someone in his thirties or early fourties with jerky hand gestures and a rapid gait. More like Papageno, really, than Sachs. The redeeming performance here is delivered by Eike Wilm-Schulte, one of the finest lyric midrange baritones singing today, who brings Beckmesser to life as a real character with passions and demonstrates absolute technical mastery of this very challenging musical line. Gosta Windbergh sounds relaxed and comfortable with his role as Walther. Eva Johansson is charming and correctly pitched.
Rating:
Summary: Absolutely wonderful!!
Review: I was so happy to see this released in the US market. It's been available for several years in Europe. I agree with all the positives that have been said about this recording. Brendel is superb and it was great to hear Beckmesser sung instead of the usual caricature. Watch the facial expressions on the listeners as he sings his contorted version of the Prize Song. They are priceless. I think what really impressed me the most was sense of involvement everyone showed during this very long opera. You could truly believe that these were the real people, not actors on a stage. This is a situation where the whole is definitely greater than the sum of its parts. It was a lucky audience to be in the theatre that night. I could go on and on about this performance but others have already said it. I can't image a better performance of Meistersinger.
Rating:
Summary: Absolutely wonderful!!
Review: I was so happy to see this released in the US market. It's been available for several years in Europe. I agree with all the positives that have been said about this recording. Brendel is superb and it was great to hear Beckmesser sung instead of the usual caricature. Watch the facial expressions on the listeners as he sings his contorted version of the Prize Song. They are priceless. I think what really impressed me the most was sense of involvement everyone showed during this very long opera. You could truly believe that these were the real people, not actors on a stage. This is a situation where the whole is definitely greater than the sum of its parts. It was a lucky audience to be in the theatre that night. I could go on and on about this performance but others have already said it. I can't image a better performance of Meistersinger.
Rating:
Summary: Ask Met
Review: Karita Mattila is magnificent!! Her Salome at the Met recently is another absolutely fantastic performance. The Met Salome has been videotaped for either a future PBS telecast or for DVD. If you like Mattila and you want to see her Met performance, please write in to the Met to ask them to release the Salome DVD soon.
Rating:
Summary: An interesting performance
Review: Sachs is a young widower who has had his eye on Eva, and viceversa. He is a male Marschalin. This cast is quite good, if not definitive, if such a thing is possible. The exception is Winbergh, who is slightly below par, but then so are most Stolzings. Eike Wilm Schulte is excellent.
The setting of the action in the early 20th century makes the final warning of Sachs quite apropos to the coming Nazi regime,
and more so in the translated titles.
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