Diane B. Wilsey Center for Opera
SF Opera's Il barbiere di Siviglia

SF Opera's Die Meistersinger von Nürnberg

_B5A0405* Notes *
Let's not beat around the bush on this one, San Francisco Opera's Die Meistersinger von Nürnberg  is very long and not for the faint of heart. Maestro Mark Elder's style is glacial, and while every single beautiful note is heard, it seemed tough on both the orchestra and the singers. Coupled with the attractive but tame production, it can make for a monotonous evening despite the gorgeous singing.

The exceedingly slow tempi are stately and Elder certainly had control of the orchestra. Playing that unhurriedly does seem to wear on the musicians though, and there was an obvious mistake by the oboe player in Act II and a painful brass blooper in Act III. Quite a surprise, given the oboist normally plays very beautifully and in this piece, the brass did really well otherwise. The singers got ahead of the orchestra, which is a distinct rarity.

The production by David McVicar is mild. The action happens under a fancy vaulted ceiling the whole time, with other elements to change the scenes. The switch from Hans Sachs' house in Act III Scene 1 to the festival banks of the River Pegnitz (pictured above, photograph by Cory Weaver) in Scene 2 was wonderfully quiet. The costumes look like pretty cast-offs from a film adapted from Jane Austen, so it seems the setting is updated a few centuries. The choreography of the chorus in the first two acts is a bit on the silly side, and doesn't quite match the music or the setting. All that said, the production did not get in the way of Wagner's opera. It could have been funnier though.

The cast has a lot to recommend it. The bright tones of Sasha Cooke (Magdelena) and Alek Shrader (David) cut through the orchestration. Cooke has a particularly lovely voice, and one only wanted to hear more of her, the role being relatively small. As Eva, Rachel Willis-Sørensen has a cold, piercing sound but isn't nearly as grating or scary as some Wagnerian sopranos.

I really loved Martin Gantner as Beckmesser, his characterization is spot on and his voice has such pretty resonances. Brandon Jovanovich cuts a bold figure as Walther von Stolzing, he was fighting a cold during the first performance, which wasn't announced until before Act III. He almost lost it at the end of his big Act I aria, but managed to keep it together. He sounded tentative in the final act, but did sing the whole role.

James Rutherford is an impressive Hans Sachs, his voice has much vigor. He might sound a touch youthful for the role but he gave an imposing and solid performance.

* Tattling *
There was hardly anyone in the last rows of the balcony, and it was easy to see the stage from standing room. Someone a few rows ahead of the very back of the house had her flashlight on for the beginning of the opera, but her companion slapped her hand and insisted she put it away.

Some of the house staff was at the back of the balcony listening to the end of the opera, but one of their walkie-talkies sounded and they hurried away before they could hear the finale.

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