Katharina Wagner's Die Meistersinger, now in its Fourth Year at Bayreuth, by Michael Miller

James Rutherford as Hans Sachs communes with the Authorities in Die Meistersinger, Act II, sc. 1. Photo Bayreuther Festspiele GmbH / Enrico Nawrath.


Richard Wagner, 

Die Meistersinger von Nürnberg

Musical Direction - Sebastian Weigle
Stage Direction - Katharina Wagner
Set Design - Tilo Steffens
Costume Design - Michaela Barth, Tilo Steffens
Lighting - Andreas Grüter
Choirmaster - Eberhard Friedrich

Hans Sachs, Schuster - James Rutherford
Veit Pogner, Goldschmied - Artur Korn
Kunz Vogelgesang, Kürschner - Charles Reid
Konrad Nachtigal, Spengler - Rainer Zaun
Sixtus Beckmesser, Stadtschreiber - Adrian Eröd
Fritz Kothner, Bäcker - Markus Eiche
Balthasar Zorn, Zinngießer - Edward Randall
Ulrich Eisslinger, Würzkrämer - Florian Hoffmann
Augustin Moser, Schneider - Stefan Heibach
Hermann Ortel, Seifensieder - Martin Snell
Hans Schwarz, Strumpfwirker - Mario Klein
Hans Foltz, Kupferschmied - Diógenes Randes
Walther von Stolzing - Klaus Florian Vogt
David, Sachsens Lehrbube - Norbert Ernst
Eva, Pogners Tochter - Michaela Kaune
Magdalene, Evas Amme - Carola Guber
Ein Nachtwächter - Friedemann Röhlig

I won't even say that I wish that, in beginning with Katharina Wagner's production of Die Meistersinger,

 I was starting on a cheerful note. Nothing of the kind. Katharina has studiously avoided her great grandfather's romanticized Nürnberg, where great artistic, literary, and musical achievement lurked around every corner, where the citizens dressed colorfully, where the men engaged in witty exchanges, while the girls joyfully gave themselves over the dancing, if not to their young men, at every opportunity. She has, rather, chosen to focus on the repressive nature of this conservative society, as embodied in the guild system, the obsessive power of routine in daily life, its neuroses, and, yes, its nightmares. Having a certain penchant for black humor and oddity, I entered with pleasure into my five-hour visit to this frightening and pitiable world, and I laughed, quite a bit, which, I should hope, is the desired result of any Meistersinger production. If my laughter was a trifle sour at times, it's not entirely alien from the sarcastic wit of Wagner's libretto. Hence, I am pleased to say that Katharina Wagner won her war, buoyed up by a splendid vocal, orchestral, and comedic performance, which had its own vigorous life, no matter how strange the goings-on on stage. And, if one is open-minded enough not to resist these, one can expect to gain a fair bit of insight into human nature, history, and Richard Wagner's comic masterpiece.
Read the full review on the Berkshire Review, an international journal for the Arts!

Michael Miller