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Die Meistersinger [Blu-ray]
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Genre | Music Video & Concerts, Classical / Opera & Vocal |
Format | Multiple Formats, Blu-ray, Classical, NTSC, Widescreen |
Contributor | Katharina Wagner, Klaus Florian Vogt, Norbert Ernst, Bayreuth Festival Orchestra and Chorus, Michaela Kaune, Jochen Kienbaum, Carola Guber, Michael Volle, Artur Korn, Franz Hawlata, Andreas Morell See more |
Language | German, German |
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Product Description
Ostensibly Richard Wagner's opera Die Meistersinger von Nürnberg tells a humorous tale about artistically inclined craftsmen. Goldsmith Veit Pogner promises his daughter Eva's hand in marriage to the winner of a song contest, to which three men are potentially eligible. But upon closer inspection, what is at first glance a harmless farce in a middle-class setting emerges as a profound social analysis. Wagner uses his protagonists to show how a community deals with tradition and those who break with it and just how much innovation and deviation from the norm it can tolerate - as well as to examine what value society places, and should place, on art.Press Reviews
"'Meistersinger' that's on an entirely new Wagnerian scale...it is full of smart ideas and moments of effective theater." (The Washington Post)
"...as all stage productions should be, this is 200 per cent a Meistersinger to see." (Gramophone)
"[Volle's Beckmesser] is so consistently alert, so wary of traditional caricature, so mellifluous in sound, and so well acted that it is, in fact, almost plausible to see him as the opera's hero...Franz Hawlata is a refreshingly youthful Sachs (which makes the Sachs-Eva-Walther triangle more affecting) " (International Record Review)
"this production revolves around Beckmesser, and Michael Volle puts in an exceptional performance...I would urge even the sceptics to take this production seriously...A complex and troubling but also consummate and satisfying experience: even on DVD it leaves a lasting impression. " (Classical Review)
CastFranz Hawlata (Hans Sachs)
Artur Korn (Veit Pogner)
Michael Volle (Sixtus Beckmesser)
Klaus Florian Vogt (Walther Von Stolzing)
Norbert Ernst (David)
Michaela Kaune (Eva)
Bayreuth Festival Orchestra & Chorus; Sebastian Weigle
Production
Company: Bayreuth Festival
Stage Director: Katharina Wagner
Disc Information
Catalogue Number: OABD7078D
Date of Performance: 2008
Running Time: 306 minutes
Sound: 2.0 LPCM + 5.1(5.0) DTS
Aspect Ratio: 1080i High Definition / 16:9
Subtitles: EN, FR, DE, ES
Label: Opus Arte
Product details
- Aspect Ratio : 1.78:1
- MPAA rating : Unrated (Not Rated)
- Product Dimensions : 7.52 x 5.31 x 0.59 inches; 2.82 Ounces
- Director : Andreas Morell
- Media Format : Multiple Formats, Blu-ray, Classical, NTSC, Widescreen
- Release date : January 25, 2011
- Actors : Klaus Florian Vogt, Michael Volle, Artur Korn, Franz Hawlata, Norbert Ernst
- Subtitles: : English, French, German, Spanish
- Producers : Jochen Kienbaum, Katharina Wagner
- Language : German (DTS-HD 5.1), German (PCM Stereo)
- Studio : Opus Arte
- ASIN : B0046HCONY
- Number of discs : 1
- Best Sellers Rank: #301,572 in Movies & TV (See Top 100 in Movies & TV)
- #988 in Performing Arts (Movies & TV)
- #2,166 in Special Interests (Movies & TV)
- Customer Reviews:
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(This is an all too apt assessment and says much about American Opera fans).
Contd:
"In Act 1 we are in a 19th century brotherhood of sorts: Traditionally clad "meistersingers" sit around the table, reading small yellow books of German classics. At that time, Sachs, barefoot, is a slightly controversial outsider. But not nearly as controversial as the modern-dress Walther, who sprays paint on everything and everybody. Not a singer, but a painter, the point is driven through, by him assembling a puzzle of Nürnberg all in disorder compared to Beckmessers perfectly assembled Nürnberg puzzle.
In Act 2, the sullen Eva hangs around what looks like an East-German Canteen in the 1950's, where Sachs sits with his typewriter in the corner. In the only hint at shoemaking, sneakers seem to be dropping from the sky and all ends in an orgy of paint-throwing.
The real stuff begins in Act 3: Now Beckmesser is suddenly the outcast with his T-shirt "Beck in Town" and finds himself in Sach's fancy apartment, where the heads of the old German masters (Brahms etc.) dancing in the background. Sachs, with his elegant suit, is now constructing a neat idealised family-concept literally within the frames of a doll-house for Walther and Eva to be filmed in. How come this sudden change? Then, in the choral scene preceding the "wach auf", Sachs is captured and tied to a chair by these heads while they, often clad in underwear, perform a weird dance and Eva blindfolded walks amidst them. What is going on here, seriously? Next however, Katharina Wagners master-stroke begin in earnest with an eerie scene in which Sachs's helpers capture a stage director and conductor, putting them in a coffin, starting the fire to burn them exactly at the "wach auf" in a scene reminiscent of the Nazi epoque. Very strong theater, indeed. Et voila, what comes out of the coffin? A golden calf it seems. When a model of the auditorium emerges from under stage, we the audience are double spectators to Walther bringing home a check of 10.000 from the Nürnberg Bank, while Beckmesser now is an outcast.
The staging requires a familiarity with German culture, both ancient and present, that I perhaps do not have and there are myriads of details to discover here, as the pace is furious, especially in the third act.
To summarize, Sachs and Walther essentially submit to conformism while Beckmesser moves in the other direction.
No, Katharina Wagner does not have all the answers and admittedly the staging of the first act seems a bit heavy-handed. But then again, the first act is really long and not for the first time do I wish Wagner would have lived to revise (read: shorten) it, though I have no idea if he ever thought about that and anyway, if he had lived any longer his next project (after Parsifal) would probably have been a revision of Tannhäuser (needed as well).
More singers stand out on the DVD than I remember from the live performance, especially Franz Hawlata, underpowered in the theater but not here, taking fully advantage of the close-ups for us to see his detailed and impressive acting.
Walther really is a super role for Klaus Florian Vogt, probably his best role together with Lohengrin and Michael Volle also leaves nothing to be desired. As for the rest nobody was exceptional, one way or the other, though admittedly Michaela Kaune was vastly better than the Amanda Mace I saw the year before.
Katharina Wagner presents with the only production on DVD truly departing from medieval Nürnberg and trying to wrestle with this issues. For this alone, this is a must-see."
The NY Times, Gramophone Magazine, International Record Review, Opera Canada, ion arts, Wagner Opera net, gave this production accolades and praised Katharina for pulling off the most difficult of Wagner operas to update. After watching this several times, I have to conclude that the Mostly Opera review is spot on. Unfortunately, I also have to conclude, from reading some of the negativity here that American Opera fans have to be among the most uptight group of people in the entire world. They are even more tightly wound than Marvel Comic fans. They have turned opera into a suburbanized, historically elitist religion and, consequently, transforming it into a religion, are turning it off to new generations. One can easily see the reason for Pierre Boulez's early, dismissive remarks regarding America Opera "fans." These opera fundamentalists bellow, hiss, throw out predictable, and by now quite boring insulting phrases like "eurotrash, beat their chests and throw hostile tantrums. Why? Because they want to keep opera solely in the past. They want it edified and sacred. They reject this potentially greatest of all art forms as a vibrantly timeless art.
It is because of these puritans that American opera companies, catering to the ultra conservatives (who feel they own the art form) are forced to stage a La Boheme every single season, simply to keep themselves out of the red.
Meanwhile, Europe, which has long staged opera in contemporary settings, has a thriving opera scene.
Do the math.
The supposed American opera fans have killed the art form they claim to love. They have killed it by putting that art form on a pedestal, dehumanizing it, and keeping it stale. At the sign of even a single 21st century dress on a singer, these fans will be as sounding brass, wailing blasphemy behind the curtain.
It is no wonder opera is in its death throes here in the states. What potential music lover, under the age of thirty, would want to even explore an art form held captive by such a constipated lot?
Wolfgang knew he was not much of a stage designer,like his brother. He brought in Chereau Ring which also attracted adverse publicity, now much beloved. Kupfers dark minimalist modern Ring, and so forth. Katharina grew up in this atmosphere. She also learnt her craft from Barenboim and other opera houses.This is one opera that Bayreuth has been frightened to change. Wieland attempted to, but the audiences at Bayreuth shunned it. Now Katherina has taken the bull by the horns and in a subtle and unsubtle way, told the audience where to shove their conservatism. Because this opera is about rules and the changing of them.The new always comes up against the old guard. She has made some observations about the art establishment and society in general.I also think that includes her family subconsciously. Sachs the free thinker, able to be so, because he is a poet,has barefeet, becomes a businessman wearing a suit and shoes. Von Stolzing the fiery artist, who incorporates everyone into his vision of art. Who never changes his style, thus not growing, takes the easy way out and becomes a mainstream artist, because it gives him the promise of wealth.That is why he ends up wearing a suit.Beckmesser,the bureaucrat, changes the most,shuns mass taste, and becomes the most modern artist of all.At the end Beckmesser looks at Sachs as he is glorifying German art, shacks his head in disbelief and walks away. There are little touches, like the riot, where one of the crowd waves around a cast of Picasso's painting of his lady friend. The crowd on the balcony waving Warhol Campbell soup cans. References to the new. The march where we have oversized heads of Schuller, Goethe,Beethoven Wagner, Lizst, and Mozart, doing a can can, in front of a tied up Sachs. Then some ladies with equally big heads dance and the former attempt to have sex with them. Those who created this farce come on stage, bow to the audience,are thrown into a dust bin , with bits and pieces and burnt. In otherwords, out with the jolly old staging. Here Katherina is mocking herself. She has deliberately been provocative and almost childish for a reason. Call it unsubtle, but it is clever. Other touches like the huge soprano,making gestures at a knight, is a dig at the past, while Von Stolzing sings his Mastersong. It is very funny. The crowd sits in rows in the dark, while Sachs is singing about pure Germany art, as if to say, this is our recent past. Watch out. I cracked up with laughter. She has an odd ball sense of humour. I cannot wait for her Tristan und Isolde 2015. I compared this to my Levine Nurnberg. The singing and costumes were great, but Levine conducting was slow. I also found it tame compared to this version. It has youthful vitality and you can see the singers were having a ball. Of course the audience did not like her production, they are too stuffy and as we say in Australia, up themselves. Being an only child like Kat is, I know exactly where she is coming from. She is a strong willed person, with ideas of her own. Is is about time some of the opera going public woke up to itself. I believe kat, is trying to build bridges with Gottfried. He was treated very badly by Wolfgang.
Now for the singers. The conductor of the Bayreuth Festival and Chorus Seb Weigle tempi are fast and right for this opera. Forget the complaints about him,he is good. What Katherine needs is a conductor who is permanent. She is thinking of Thielmann, but I think a woman like Simone Young, who has conducted the Ring in Hamburg, would be right for her. The Sachs Franz Hawlata is fine, better then Morris in the Levine Nurnburg piece. Von Stolzing has a high tenor voice, which is unusual, but right for this part and brings it alive, as does Hawlata. Eva Michaela Kaune,has a distinctive voice with an emotional catch to it. Veit Pogner, is a distinctive Bass. All the parts are well taken and sung. Take no notice of the criticism, not even on Wagneropera.net. They must realize that Katharina was getting at them. I wonder what old Wolfgang thought of it all. He was at the performance and artistic director. He died a while later. If I had been at that performance and the oafs around me were booing, I would have used foul language, as only a racing cyclist and ex ultra distance runner can. This is good, if you dont like modern staging, keep away from it and keep your comments to yourself
Top reviews from other countries
The biggest fault I found was that it just tried to do too much that wasn't entirely clear in its meaning ( what was with the shoes?...tried to be some metaphor to relate to the cobbling but didn't make sense to me, I also really disliked the giant composers and writers dancing in Act 3. ... Im not being prudish, it just went on too long and didn't make sense). Im not entirely convinced that presenting the art as painting/ visual rather than about song was not too incongruous with the text, but it was clearly sustained and impacted dramatically well. The message was strong and in your face. The dramatic progression of Sachs' character was intriguing and thought provoking. His transition to Hitler in the final scene was a natural progression and startling. It packed a punch without being over the top.
Another weakness of the treatment is the lack of warmth. The wonderful humanity and warm glow I usually come away from Meistersinger with, is missing almost entirely, but it is replaced with energy and excitement. There is good humour and lots of fun as well, just don't make this your first or only Meistersinger experience.
The performance itself is usual Bayreuth high quality. Beautiful singing and playing, though Sachs tires a bit towards the end.
I thoroughly recommend this to people who know Meistersinger well. If you are new to this opera.. Wait for a more traditional version.
ps. If one day I do by God's grace I make it to Bayreuth I wouldn't mind seeing this production.