DIE MEISTERSINGER VON NÜRNBERG Wagner - Teatro Real
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- Опубліковано 11 вер 2024
- Midsummer's eve in Nuremberg and the real-life cobbler-poet Hans Sachs and the guild of mastersingers are pursuing their craft of poetry and music according to traditions and rules. A goldsmith's daughter, Eva, and a knight, Walther von Stolzing, fall in love, but Eva's father has promised her to the winner in the forthcoming song contest. Under the wise tuition of Sachs, can Walther learn the mastersinger's art in time to win Eva’s hand and see off a challenge from the foolish town clerk Beckmesser?
Richard Wagner’s only comic opera had a long gestation. Summer 1845: drawing on the History of German Literature as well as the biography of poet and shoemaker Hans Sachs, the composer sketches out ideas for a satirical counterpart to Tannhäuser. Autumn 1861: Wagner writes to his publisher that he intends to cheer himself up with ‘something lighter’ and begins composing Die Meistersinger, which he would not complete until six years later. With a sense of self-derision with which he is not usually associated, Wagner brings together an exercise in style and an aesthetic manifesto in praise of the ‘noble and holy German art!’. Here is an opera that speaks volumes about the composer’s own preoccupations: the widening divide between high art and popular culture, and the fracturing of tradition by the radically new. Wise and audacious, the characters of Sachs and Walther can be seen as a double self-portrait of their creator. OperaVision shares live Teatro Real’s new production (the first in Madrid for 22 years) which is conducted by Pablo Heras-Casado and staged by a director with some gift for comedy, Laurent Pelly.
This is the post-produced version of Die Meistersinger von Nürnberg, which was streamed LIVE on OperaVision on 18 May 2024 at 18:00 CET. The full performance is available until 18 November 2024 at 12:00 CET: operavision.eu...
CAST
Hans Sachs
Gerald Finley
Veit Pogner
Jongmin Park
Kunz Vogelgesang
Paul Schweinester
Konrad Nachtigal
Barnaby Rea
Sixtus Beckmesser
Leigh Melrose
Fritz Kothner
José Antonio López
Balthasar Zorn
Albert Casals
Ulrich Eisslinger
Kyle van Schoonhoven
Augustin Moser
Jorge Rodríguez- Norton
Hermann Ortel
Bjørn Waag
Hans Schwarz
Valeriano Lanchas
Hans Foltz
Frederic Jost
Walther von Stolzing
Tomislav Mužek
David
Sebastian Kohlhepp
Eva
Nicole Chevalier
Magdalene
Anna Lapkovskaja
Sereno
Alexander Tsymbalyuk
Chorus
Teatro Real Chorus
Orchestra
Teatro Real Orchestra
Music and text
Richard Wagner
Conductor
Pablo Heras-Casado
Director
Laurent Pelly
Costume
Laurent Pelly
Jean-Jacques Delmotte
Sets
Urs Schönebaum
Lighting
Urs Schönebaum
Chorus Master
José Luis Basso
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Gerald Finley's voice is a thing of joy.
Meistersinger is better than any drug or wine.
Ein solider Walter von Stolzing. Gut gesungen.
Superbe!!
I said it in the live broadcast and I'll say it again here: Great job. Now for god's sake hydrate and get enough sleep.
I suggest a comparison with the 2011 staging from Glyndebourne.
Also there, Gerald Finley sang the part of Hans Sachs.
The buildup to and the entrance of the Mastersingers in the final act was much more satisfying in the Glyndebourne production. And even better still in the NY Met production conducted by James Levine. That said, Gerald Finley is first rate in any production.
great performance:-) großartige Aufführung:-)
I'm surprised no one commented on the sound quality. Didn't it seem like the singers were overwhelmed by the orchestra, probably because of microphone placement?
I agree,,, they seemed to have worked much with close up microphones leading to an a bit in general unnatural sound balance (including the too silent singers)... but maybe it was never intented to be the most elaborated production (concearning the sound)
Thanks for this post-production version.🎉
Meistersingers out of the cardboard box... It certainly had its comical moments, but unfortunately no more than that. The meisters as senile Gollum-like creatures with bad hairdressers, Sachs sticking out as the only one respectable, but with too much fidgeting about in the soliloquies. Eva is missing her raggy doll and skipping rope to match her mimicking in the first act. David has jumped out of a French Gauloises commercial, but complementing perfectly his British Mary Poppins counterpart of Magdalene. Poor Beckmesser treated so brutally by him in the Prügelszene that he was not only missing his front teeth but also part of his text. Soothingly "normal" the unbuttoned casual Stolzing.
In total: An enjoyable production, as to be expected by Pelly, but definitely not one of the usual ones and raising controversies among Wagner lovers. Nice ending with the Meisters hobbling off the stage when the lovers reject the honor of club membership and draw the curtain close even in the face of a consternated Sachs and choir with their "Ehrt Eure deutschen Meister"
Very German !!
the orchestra is too small for Meistersinger... probably or certainly they used mics
45:18
Oh God, what an ugly staging !!
Do you not like zombies? ;-)
So what are you going to do, stay home and miss the fun at the festival just because it's cloudy and looks like it's going to rain?
you wouldn't believe how much worse some others are.
8:19
1:26:17
2:14:05
horrible mise en scène, tout est laid et gris, sans aucun rapport avec l'œuvre.