Photography from Glyndebourne's 2011 Festival production of Wagner's Die Meistersinger von Nürnberg.
This was the most magnificent production I have ever seen. What stays etched in my memory was the subtle and moving interplay between Gerald Finlay and the orchestra during the "Flieder Aria". The quintet in act 3 was sublime as Eva's voice sailed effortlessly over the other voices. The final scene change which brought the "Festwiese" exploded like a firework causing the audience to spontaneously applaud. For me the rousing chorus "Wach auf!" was perfect as was everything which followed. I cannot wait to tell my friends at the Düsseldorf Wagner Association about this performance. I expect they will be green with envy at having missed it!
Thank you so much for relaying the performance on 26th June live to cinemas across the country. We saw it at a picture house in the London area and were entranced!
We just can't get enough of your Meistersinger, and lapped it up on livestream, after seeing it in Glyndebourne. No clever-dick ideas as in the current Bayreuth production; no need for interruptions in the final scene, to explain what's going on, as was done (to great effect)in Hamburg quite recently. Just beautiful British understatement, showing the humanity of Sachs, and the emotional maturing of Eva. We had tears in our eyes and lumps in our throats in the third act. My favourite moments: Sachs gulping for fresh air in the "Wahn-Monolog" - "Wie friedsam treuer Sitten ... mein liebes Nürnberg!" Eva, Walther, David and Magdalene all sitting down to sing the quintett, joining Sachs, who had sunk on the bench in exhaustion, after getting Walther's song down on paper; Sachs taking Walther apart to one side, and again, sitting down for "Verachtet mir die Meister nicht" and talking to the young noble as a father to a son, not one bit pompous or self-important; then Sachs rushing over to the apprentices to warn the younger generation of the importance of art in "Habt acht"; Eva bursting into tears and sobbing when Sachs made everything come right in the end. Human, moving, beautiful. Thank you! Thank you! Thank you! When is it coming out on DVD?
I have read the comments above and agree whole heartedly with everything printed, but am I the only one who sat blubbing like a silly thing during vast stretches of the third act? So perfectly in tune with the libretto, but as fresh as a daisy. So life affirming, so human and not a hint of agitprop or contorting this marvellous work to fit a fashionable director's concept. Congratulations! How novel. How brave and honest!
Vocally, the star of the show was undoubtedly A1astair Miles in the rôle of Veit Pogner. A beautifully rounded, rich and even sound throughout the challenging range demanded by the composer, and always immaculately in tune.Indeed, singing to be savoured and admired.
A joyous and life-enhancing occasion, providing a very different take on the power of love from Tristan, which we have also seen recently. The production illuminated very well the increasingly central role of Sachs that emerges as the opera progresses, and placed his second act duet with Beckmesser at the heart of the proceedings, around which all else revolves. The orchestral playing was superb, and no weak links among the singers
A charming and most satisfying production. Much has been said about Finley and Kranzle, but I particularly enjoyed Marco Jentzsch's glorious tenor tones (reminiscent of Domingo). I also regard Wagner's musical dramas as (or level with) the apex of western culture, and your production beautifully brought out all the various aspects of this one.
A wonderful, wonderful, out of this world staging of the Meistersinger - and Gerald Finlay was just fabulous...the music washed over us in waves, I could have sat there all night. Thank you Glyndebourne for a really joyous evening.
My favourite opera so a real treat to see it at Glyndebourne. A perfect evening and glorious weather as well. Thank you.
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