https://melbourneopera.com/project/die-meistersinger-von-nurnberg/ Short interviews with major players - Director/Conductor etc.etc.
This was a very unexpected surprise; I did not think that IL would be attending a Wagner performance while in Oz!
The setting was wonderfully impressive – some photos of that can be seen on the relevant Facebook page for Feb 16th. The performance started in daylight with the artificial lighting not having a great deal of effect but by the end of the final act, it was dark outside and the glass cupola and windows provided a lovely background for the final scenes.
The sight lines were very good – for everyone I think even at the back. Sound was, at times, more problematical. The cavernous acoustic meant that some sound in the major climaxes was over-reverberant and the notes and chords lingered even as the next musical phrases began. This was also the case with some vocal moments where notes either lingered or faded too soon, but it was not a major problem and one could adjust ones ears. The balance between voices and orchestra and chorus and orchestra was generally very good (quite a task in such circumstances). The quality of the orchestra and chorus was excellent and the conductor masterfully held together this massive piece up to the final chord. The chorus blended very well and had more than enough power for the climaxes. The climactic greeting of the Mastersingers before the Act 3 contest was superb and really did raise the rafters.
Set and costumes were perfectly decent and suitable. This is not meant to be grudging but the focus was on the performance and so these two elements just worked well to ensure that the performers could give of their best. They were not to be distracted by what they were wearing/what they were asked to do on stage/what sort of environment that had to move and sing in. The costumes were pretty generically Medieval, but effectively basic (tunic/doublets/long dresses)
The set was likewise very effectively functional – wooden-framed buildings (no solid walls) which allowed for effective and at times necessarily rapid movement of large numbers on and off the stage. However, in the early part of the performance, I was distracted by seeing people move across the back of the set as much of that area was visible but this was improved in the latter part as there was a little more solidity to the set and it was somewhat less skeletal.
The singers all coped very well the demands. Eva and Walther were particularly fine having voices of both power and sweetness and, in Walther’s case, being able to bring out that little bit extra for the final climactic performance of the Prize Song. Beckmesser was not too cartoonishly absurd (this was most reflected in his costume) although they leant more to the humorous/ridiculous aspects of his character rather than anything darker. Magdalene was a very endearing interpretation and there was real rapport between her and David while her father Pogner had the requisite darkness of tone for his role. But a p’iltyj that the Night Watchman was slightly disappointing; you really want someone with a superb voic e fo;r this tiny yet vital role.
But wonderfully enjoyable and a million congratulations to all the creators for pulling this off.