The Deutsche Oper’s new production of Die
Meistersinger von Nürnberg was nothing if not troubling. The staging of
Jossi Wieler, Anna Viebrock and Sergio Morabito – which replaces the wonderful,
if quite traditional Götz Friedrich production after nearly thirty years
– had numerous great ideas and a few terrible ones; it conjured a
convincing world and populated it with well-realised characters, then allowed
entire scenes to fall flat. There was some very good singing and even a few
moments of great singing, but also passages of extreme disarray. It was an
evening about which it was impossible to feel anything other than ambivalent.
The staging was not without promise: the directors
transplanted the action from sixteenth-century Nürnberg to a present-day music
conservatory owned by Veit Pogner, attended by a select group of students…
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