A general comment first before getting down to the nitty-gritty of the performance: Regarding the overall ‘setting’ of the production: Looking back at the very cursory notes I scribbled about this performance I see that I noted that the song contest, in terms of look and staging was strongly redolent of High School recital – and the ‘citizens who frequently had to re-arrange the multitude of chairs for various episodes on the stage also contributed to this ‘vibe’. However, I did not immediately place the whole production in this setting (or music academy) which, according to one review I have read, was the case. I can now, sort of see that, but I do not think that it was truly clearly conveyed overall. I think it could work but I think that more thought would need to go into its execution than seemed to be the case here.
There was, essentially, one set for the whole work, certainly in Acts 1 and 2 and while that sort of worked, I did miss a sense of atmosphere, particularly in the music, during Act 2. The Act 3 set was recognizably similar, set in a recital room.
I will first talk about the singers in this performance as the production is a little more complicated – not least as there may have been aspects that I missed in viewing. But musically this was excellent – no one stand-out performance but all excellent. Vogt as Walther was marvelous – a well-acted performance and the voice had a sweet lyricism to it and was not heavy in the way that heldentenors undertaking this part can often be. The role demands elegant lyricism and unforced tone and Vogt more than provided, right to the end with the final version of the Prize Song. Stober as Eva was a fine match –a good actress (she had a fair few demands made on her) and again the voice had a lightness and ‘glow’ to it that was rather lovely, while still having the necessary heft and power demanded. Pesendorfer as her father Pogner had a more ‘traditional’ Wagnerian voice which was absolutely right for the role and he dominated where he should dominate.
Magdalena and David (Schlict and Huang) were marvelous as singing actors. They created really lovely rounded characters with Magdalena being a rather more serious character (rather like a prefect, to continue the school connection) but with a very kind side, as shown by how she solicitously brought a glass of water to her father towards the climax of Act 3 – a little detail but noticed. Huang was often very funny as David, a rare Wagnerian character who is endearing (not many of those!) and he coped well with the acting demands made on him, not least the yoga poses required.
And this brings us to Hans Sachs. It seems that, in the high school concept, he was a major, charismatic teacher and bare-footed yoga enthusiast and while I can now see this, it was not truly clear while I was experiencing the work. But the shoe connection was there as it seems that he made (??) Crocs as the shoes and everyone was wearing them, multi-coloured, for the final scene. I thought this was entertaining, quite funny but it did not really fit with the presumed high school/music academy concept. I also became aware, for the first time, of the musical (harmonic and instrumental with the divided strings) and dramatic links I think, between Kurwenal and Tristan at the opening of Act 3 and Hans and the wounded Walther, lying at his, in the opening of this work’s third act.
I liked the way the chorus was used in an almost abstract way, particularly in the riot at the end of Act 2 and with the start of the final scene –again I am not sure how truly carefully what we saw was thought out, but it did make a good stage picture – and having the chorus and some of the extra brass at the end juts outside the auditorium or in boxes at the sides of the stage was aurally thrilling and an excellent idea.
But now to the ending. I thought this was very interesting and original – and perhaps controversial. Firstly, Beckmesser was hustled off after his debacle and we did not see him again. Interesting. But when Walther refused the award, he and Eva were making their way off the stage at the front and as Hans began his paean to German Art and the danger of future threats, Eva and Walther were moving off and out of sight so that the end of the monologue it was only Hans left implying that Walther and Eva had rejected Hans’ ideals. And as Hans continued his monologue, moving back to the people, he took off the bright coloured top with a multi-coloured chain around it, rolled up his sleeves and waded into the crowd, in the final bars, being lifted above the crowd, spread-eagled and celebrated. I think this somehow suggested that he was going to take over or take control. Is he becoming a demagogue? I suppose political meanings could be read into this – the new generation with their radical ideas are rejecting the old – and of course it is noticeable that in the very final words of the opera the praise is directed at Sachs the individual, not the ‘new’ world and ideas represented by Walther. At the end of the performance there were a few, loud individual boos – which again was interesting. I will look out for other reviews and see what the opinions and verdicts are.
Meistersingers, the Nazis, and the final monologue are interestingly referenced and discussed in the wonderful Alex Ross book Wagnerism, particularly pp. 191-94 and Chapter 13.