MORE MEISTER SINGING
Wagner: Die Meistersinger von Nurnberg
Cologne 5 April 2010
If you’re an opera lover (and if you’re not, why are you reading this?), you probably know that Europe is the place to be at Eastertide. Nearly every major city, and even a lot of minor municipalities mount non-stop lyric theater events. The choices you have to make can be bewildering. If you found yourself in the westernmost part of Germany this past Easter Monday, did you attend a Traviata in Bonn, a Gypsy Baron in Pforzheim, or a Parsifal in --let’s see now-- Stuttgart, Frankfurt or Düsseldorf?
I opted for Meistersinger in Cologne because it had three things going for it: of all the alternatives, it’s my favorite opera, the opera house is a 10 minute trolley ride from where I’m staying at the moment, and the cast featured an only-appearance-this-season appearance by Klaus Florian Vogt as Walther von Stoltzing. I can’t get enough of this voice, and Vogt, wisely, doesn’t sing that frequently.
I was sort of dreading my final choice, because Uwe Eric Laufenberg’s controversial staging has several complicated moments for Walther. But the cash-strapped Cologne Opera found the stash to fund sufficient rehearsals for the performance, which went much more smoothly than when I attended the production’s first performances last autumn. Not necessarily a good thing, for its infelicities, especially in the final scene became all the more apparent.
In place of the meadows outside Nuremberg, Laufenberg puts the Song Trial in a recreation of the plaza outside the Cologne Opera House. The set is dominated by a jumbotron that shows, among other scenes, video of the Mastersingers and honored guests entering the theater before taking their places on the stage. That makes sense enough. Mixed in with these proceedings, though, are a newsreel of vignettes showing Cologne before, during and after World War II plus scenes from a previous production of Meistersinger. Huh? When Walther finally takes the stage for his Prize Song, the projections switch to close-ups of Vogt looking dreamy before a background of amber-hued landscapes. To put it charitably, it’s distracting, not to mention awful.
Nonetheless, Vogt sang with even greater persuasiveness than in Berlin several weeks ago in the same role. His is a phenomenal voice: bright, light, penetrating and, for me, soulful. Admittedly, it is so unusual, that it’s not to everyone’s taste. A vocal professor I met during the breaks complained of a “disembodied” quality that left him cold. That quality is evident in the broadcasts of Meistersinger at Bayreuth, where Vogt is currently cast as Walther in Katharina Wagner’s production under Christian Thielemann. The microphone does not love him.
Vogt was partnered in this performance by Barbara Haveman, stepping in for ailing Astrid Weber. She was no disappointment, projecting a well-focussed sound that retained its sucrose in the heftier portions of “O Sachs, mein Freund...” and the Quintet.
The other principals in the cast have grown into their parts since the production’s premiere (see my report). Especially rewarding was Robert Holl as Sachs. Could but all singers mature with such grandiose gracefulness! Despite a moment of breath-catching in Sach’s Oration, Holl’s shoemaker was indeed a masterful singer.
General Music Director Markus Stenz led the Gürzenich Orchestra and the augmented chorus with sensible tempi and majestic sweep, but he still needs to parse out the dynamics. The outset of the prelude to Act One is marked “mezzo-forte.” And with good reason: the forte at the conclusion of the prelude must sound significantly louder Throughout the performance, the difference between loud and loudest was minimal.
All told, though, a richly satisfying performance.
©Sam H. Shirakawa