Ready to win a singing competition?

Enrique Sacau

viernes, 10 de febrero de 2012

London, domingo, 1 de enero de 2012.

The Royal Opera House, Covent Garden. Richard Wagner, Die Meistersinger von Nurnberg. Graham Vick, director. Elaine Kidd, revival director. Richard Hudson, designs. Wolfgang Gobbel, original lighting design. Ron Howell, movement. Simon O’Neill (Walther von Stolzing), Emma Bell (Eva), Heather Shipp (Magdalene), Toby Spence (David), John Tomlinson (Veit Pogner), Peter Coleman-Wright (Sixtus Beckmesser), Wolfgang Koch (Hans Sachs), Colin Judson (Kunz Vogelgesang), Nicholas Folwell (Konrad Nachtigall), Donald Maxwell (Fritz Hothner), Jihoon Kim (Hermann Ortel), Martyn Hill (Balthazar Zorn), Pablo Bemsch (Augustin Moser), Jeremy White (Hans Foltz), Richard Wiegold (Hans Schwarz), Robert Lloyd (Nightwatchman). Orchestra and Chorus of the Royal Opera House, Covent Garden. Renato Balsadonna, chorus director. Antonio Pappano, conductor

In his article for the Royal Opera brochure on Meistersinger, Christopher Wintle tries to shed light upon the generic credentials of Richard Wagner’s longest opera. Is it a romantic piece, whatever that may mean, or indeed a comedy? In his conclusion, Wintle proposes an impossibly long description of it (Grosse romantische Komödie im vorgerücken Alter) that rather kills the fun of it all. I believe Professor Wintle, a respected academic, has fallen into the modernist trap of looking at the author’s comments on the piece as well as the score manuscripts without considering its performance history. This would have revealed a much more fascinating picture in which different schools of staging, singing and conducting opera argue and mingle. The performance tradition of Meistersinger opens up windows of interpretation that make this opera…

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