Wagner, The Meistersinger of Nuremberg – Bayreuth

The new production of Meistersinger, inaugurated the July 25, was entrusted to the director Matthias Davidsfrom the world of theater and which has made most of his career in Germany. Similarly, Gladly iconoclastic. Meanwhile, broken at the tricks of the profession, he imposes here a conception almost entirely turned towards comedy, which he handles very skillfully but not always slightly, to the detriment of a more fundamental reflection – yet very present in the work – on the fight between tradition and modernity. For example, In a post-modern aesthetic. In addition, inspired by television games (numerous references to Intervilles) where the grotesque, excess and assumed kitsch over, he transposes the work in a universe radically opposed to the Wagnerian tradition, its immobility and its gravity.

Served by a grandiose decor, (Andrew D. Furthermore, Edwards) made of several turning elements including a monumental staircase, an amphitheater whose decorative elements are taken from the hall of the FestSpielhaus itself (same three-time lighting, same bassings of columns in the apparatus of false stone etc …). Therefore, a city of stylized nuremberg in the second act, a magnificent and sober Sachs workshop and finally a festival podium, Spectator from one era to another, confronting generations in a very imaginative joyful overflow. Similarly, The costumes of a boundless imagination greatly contribute to the general disorder. Furthermore, in particular in the final scene which seems to bring everything that modern times can offer utmost and more vulgar (all this perfectly assumed) but also more joyful and more festive.

For flashy as it is, the show is not devoid of wagner, meistersinger nuremberg – bayreuth attractions, both Matthias Davids excels in a thousand and one details to surprise, to make people laugh, to create unexpected offsets which constantly relaunch the action and hold the spectator on the alert. In addition, This is sometimes due to the circus. sometimes on the boulevard, deliberately popular, excessively colorful, full of artifices, very first degree, and yet the feelings are sincere, the situations are just and the emotion ends up pointing where it is necessary, in particular at the beginning of the third act. From this play which could be only a simple entertainment. it makes a comic masterpiece, which is in itself a feat. This contemporary transposition does not however make it possible to resolve certain crucial questions posed by the booklet. and in particular the place of women in this outdated intrigue, just good to serve as a trophy, of reward for the winner without own identity, wagner, meistersinger nuremberg – bayreuth but especially without ever the question of their consent be only mentioned. Even if Eva’s love for his Walther seems sincere, Davids seems to miss this subject without noticing.

At the music direction of the show, Daniele Gatti Starts to body lost in the adventure, with more enthusiasm and enthusiasm than precision or concern for detail. As carried away by the unbridled. crazy character of the plateau, the orchestra offers a lot of ardor, successful for some prowess – the scene of the generalized fight in the second act is perfectly in place – resumes when necessary and ends the evening, almost five hours of music all the same, without apparent fatigue.

Production benefits from a magnificent distribution, masterfully dominated by Michael Spyres in the role of Walther von Stolzing. If he is no longer wagner, meistersinger nuremberg – bayreuth entirely the age of a young first. he has the ideal voice for the role, carpence, powerful and clear, and embodies this sympathetic boy’s character with disconcerting ease. Just as impressive. but in another register, the Sachs Hans of Georg Zeppenfeld shows deep humanity, great maturity bordering on wisdom. Its imposing stamp, its high stature and its stage presence do a lot to feed the role. The young German Swiss tenor Matthias Stier In the role of David had the effect of a revelation. His beautifully stamped and charm voice seems completely natural; It gives the role disconcerting spontaneity and sincerity. Christina NilssonSwedish soprano who lends his clear. powerful voice to Eva, also made a strong impression, proving to be fine musician and of remarkable efficiency in the third act. At his side, Christa Meyer In the more modest and less flamboyant role of Magdalena fulfills her wagner, meistersinger nuremberg – bayreuth office perfectly. All five gave a magnificent version of the famous quintet of the third act. musically very pure and scenically very moving. Beckmeser is sung by Michael is bigbaritone of Hungarian origin born in Stuttgart. who tries to bypass the character’s ridiculousness by a certain coldness and makes a lot of laughter. A little below its partners, Jongmin Park shows little charisma pogen in despite the depth of the voice. The members of the brotherhood are treated by the staging in an undifferentiated way. They form a homogeneous cohort of very good quality, Martin Koch en birdsang, Werner Van Mechelen en dachigal, Jordan shanahan not kothner, Daniel Jenz and Zorn, Matthew Newlin very funny in eisslinger, Gideon dolls a moss, Alexander Grassauer and Ortel, Tijl Faveyts in Schwarz and Patrick Zielke In Fartz. Let us quote again Tobias Kehrer Who embodies a formidable night watchman, provided with an impressive wagner, meistersinger nuremberg – bayreuth Cor of the Alps. Choirs led by Thomas Eitler-de Lentnumerous. strongly contacted by the staging, seem to have appreciated the importance which is given to them here and respond with enthusiasm, precision and spontaneity to all the injunctions of the partition.

All will be rewarded at the end of the show with extremely nourished. well -deserved applause, the vocal performance and the playful character of the show ultimately carrying the adhesion of the greatest number.