Die Meistersinger von Nürnberg, Audio-CD

Marke: Albert Dohmen

Variante: Audio-CD

Eigenschaften:

PRODUKTBESCHREIBUNGEN KURZBESCHREIBUNG PENT 5186402; PENTATONE Classics; Classica Lirica REZENSION ...The allocation of the main roles has obviously been undertaken with much care, yielding overall as fine a cast as one could encounter in most of the major opera houses today. The psychologically complex role of the cobbler poet Hans Sachs has always been difficult to cast, but Albert Dohmen has risen to the challenges of this part with great success. Sachses on record can be fatherly, benevolent, noble, intellectual, profound - even bitter or some combination of all these qualities. Dohmen is a deeply serious Sachs, often sounding almost angry yet he shows the sensitivity of his character in the delivery of his two famous monologues. His singing never flags throughout his taxing part, and at the opera's conclusion he delivers his paean in praise of 'heil'ge deutsche Kunst' in firm and forthright tones. The American tenor Robert Dean Smith brings his vast experience of the role of Walther von Stolzing to this recording. It is fourteen years since I heard him at Bayreuth in this part and though, inevitably, his voice has lost some of the youthful freshness it possessed then, his singing a combination of lyricism and ringing tone never disappoints. Edith Haller has a beautiful voice that she uses with intelligence. Her girlish sounding Eva is at its best in the scene with Sachs in Act 2 ( Disc 2 Tr. 4) and the Act 3 Quintet. However, she can at times sound rather tentative and choppy in her phrasing. The Beckmesser of Dietrich Henschel avoids any of the irritating caricatures that beset some interpretations of this part. His singing is generally firm and accurate though he does lack the individuality and humour of the finest interpreters of the past. The lively Magdalene of Michelle Breedt and fresh-voiced David of Peter Sonn are well matched, providing the necessary contrast with the voices of Eva and Walther. Georg Zeppenfeld proves himself a most reliable and noble sounding Veit Pogner. His fellow Mastersingers are generally well characterised, although the unsteady and strained Fritz Kothner of Tuomas Pursio is something of a trial. Matti Salminen's brief appearances as the Nachtwächter in Act 2 are two cameo gems. This brings us to the question of pacing a work that even without intervals can last almost five hours. For reference, Janowski's timings for each act are: I 79.54 II 58.34 III 114.47 He begins the opera with a fast (8.33), but flexibly moulded 'Vorspiel' that immediately demonstrates the clarity of sound that he wishes to achieve in Wagner. Here, as throughout this recording, one marvels at the exceptionally fine orchestral playing of all sections of the Rundfunk Sinfonieorchester especially the rounded brass and characterful woodwind. Janowski's penchant for brisk tempi certainly propels the action forward, usually to the work's benefit, and his straight no-nonsense approach to the score will be welcomed by many listeners. Occasionally a sense of the music's warm expansiveness and grandeur is missing one example being the orchestral passage that links the opera' final scenes where he tends to push ahead too rapidly... The 4-disc set is handsomely packaged inside a 350-page book that includes the full German/ English libretto, biographies of the singers and an interesting essay on the characters by Steffen Georgi. In the final analysis Janowski's Meistersinger for all its estimable qualities is not quite in the exalted company of some of those listed above. Nevertheless it remains fine achievement and a most valuable addition to recordings of this work on disc. Recommended. --Copyright © 2011 Graham Williams and SA-CD.net ...In any event, Wagner's gargantuan comic opera (well over four hours in length) has, besides some nigh-slapstick humor at Beckmesser's expense, grandeur, pathos, and great spectacle as well. It must present quite a challenge for opera producers, especially in this age of straighte --http://www.new-classics.co.uk/html/opera.html No conductor who decides to perform all ten of Wagner's canonical operas can expect to have an automatic success with each of them. But there is no question that Marek Janowski, who is in the middle of just such a project, shows a special affinity for Die Meistersinger with this live recording made in Berlin in June 2011. Each of Wagner's three long acts is given a continually engaging shape. Janowski's timings, by the clock, are not quicker than those of most other conductors, but the opera has never seemed so short and light. It's a canny performance, in which careful delineation is made of the moments where the characters are meant to be singing as part of the story. David's precise instructions in Act I about the rules of songwriting are delivered in a flowing, intimate manner, but when he does an audition of his composed song in the workshop in Act III, he really performs it. The banter among the masters in Act I is blithe and rapid, but Walther slows it down for the first time with his over-eager attempt to impress everyone at 'Am stillen Herd' In Act III, there is a real differentiation between the first two verses of Walther's tentative improvisation of a prize song in his lesson with Sachs and the way he completes it in Eva's presence. Beckmesser is required to play it both ways in his Act II serenade, with real-life distractions finding their way into the vocal quality of his ostensibly polished performance. The characters emerge fully rounded, both passionate and full of humor. I've never heard a performance that so consistently and successfully reminds us that Die Meistersinger is meant to be a comedy. And Janowski sets it all up perfectly with an overture of Figaro-like busy-ness. Janowski has brought off the type of interpretation that Georg Solti (in his second recording of the work, another live-in-concert performance) attempted to produce in Chicago in 1995. Solti, in his emphasis on the conversational aspects of the opera, ended up shortchanging the lyricism, even though his cast had more vocal glamour than Janowski's. But Janowski knows just when to be rhapsodic. Robert Dean Smith understands both the uncertainty and formality of Walther in the early scenes and the rapture he shows with Eva later in the story. Dietrich Henschel gives a detailed performance of Beckmesser, letting us hear how the character is always suspicious that he's being cheated. Albert Dohmen, as Sachs, gains in stregth and vocal character as the long role builds. He also brings a beautiful color to the opening of Act III, somehow suggesting Wagner's stage direction that Sachs should play the entire scene without stirring in his chair, and he manages to show us how embarrassed Sachs is to be honored at the festival. But he certainly doesn't back away from his contentious final solo. Edith Haller's Eva is characterized more by Janowski's orchestra than by the singer. It's the orchestra that defines her in Act III, showing us how beautiful she is in her finery but then immediately catching her melancholy mood. Georg Zeppenfeld is a polished and elegant Pogner; he and Janowski take their cue from the delightful spring day. Everyone in the quintet sings beautifully, and lightly enough so that each line can be heard. Even the choral singers differentiate their 'real' singing of hymns and chorales from their everyday chatter. The men are rhythmically precise, excited and in tune for the opening of the final scene. The opera is very touching in all the right ways, and it is good to be reminded that for centuries now people have already been worried about traditions slipping away. The orchestral playing is brilliant, with the violins alternately virtuoso, tender and sweeping. The recorded sound is extraordinary; Super Audio sound is making a good play to keep music-lovers from settling for downloaded sound. --WILLIAM R. BRAUN Opera News June 2012 German composer Richard Wagner s only successful comedy was his three-act opera Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg). Lasting well over four hours, it was first performed in Munich in 1868. The story takes place in Nuremberg during the middle of the 16th century and revolves around the real-life guild of Meistersinger (Master Singers), an association of amateur poets and musicians, mostly from the middle class and often master craftsmen in their main professions. The Mastersingers developed an intricate system of rules for composing and performing songs and the work draws much of its charm from its faithful depiction of the traditions of the guild. One of the main characters, the cobbler-poet Hans Sachs, is based on a real person, Hans Sachs, the most famous of the historical Mastersingers. As part of the Pentatone label s ambitious plan to release a Complete Edition of new recordings of Wagner s ten major operas, conductor Marek Janowski and the Rundfunk-Sinfonieorchester Berlin feature here in a live performance captured at the Berlin Philharmonie in June 2011. The surround sound quality on this four disc SACD set is superb and the excellent soloists include baritone Albert Dohmen as Hans Sachs, with Georg Zeppenfeld, Michael Smallwood, Sebastian Noack, Dietrich Henschel, Edith Haller, Robert Dean Smith and Jörg Schörner. --http://www.new-classics.co.uk/html/opera.html

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