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Die Meistersinger von Nürnberg
Aside from being an excellent recording of Meistersinger in its own right, this recording will certainly win over anyone who ever had any doubts about Opera in English or Sir Reginald Goodall. The immediacy of hearing this opera in the vernacular was like no other experience I have ever had with this opera. English speakers will finally get to truly appreciate the wit and pathos that Wagner brings to his only mature comedy. As for Goodall, you are probably thinking that this recording will be slow. I will not lie; I had to use all my wizardry to get this on to four discs. That said, at no point did I ever feel like the drama or the musical line wasn't moving forward organically, and Goodall's broad tempi give the listener a chance to truly appreciate Wagner's lush romanticism along with the complex fugal writing. The cast is first rate. Norman Bailey seems completely at ease for the entire evening and brings an avuncular warmth to the cobbler. Margaret Curphey, as Eva, brings a lush, if somewhat mature sound to the role coupled with girlish charm. Connell Byrne replaces Alberto Remedios as Walther. His voice is youthful and has a quality that brought to mind Windgassen. Occasionally Goodall's broad tempi get the better of him, especially in the scene where Walther and Sachs are composing the Meisterlied, but he manages to regroup and delivers a Preislied worthy of a Mastersinger.
Track List
Act I
1. Prelude
2. As to thee our Saviour came
3. Oh stay! A word! One single word!
4. Yes here I am! Who calls?
5. David, come on, lend a hand!
6. My Lord! The Mastersinger's way
7. The Masters' tones and measures are many in name and kind
8. Such a scholar as David, we've never yet seen
9. Be well assured of my good favour
10. Now to a trial, as summoned hither
11. The feast of John, Midsummer day
12. Aha, I think you've gone too far
13. By silent hearth, one winter's day
14. Strange is the case
15. To make your footsteps safe and sure
2. As to thee our Saviour came
3. Oh stay! A word! One single word!
4. Yes here I am! Who calls?
5. David, come on, lend a hand!
6. My Lord! The Mastersinger's way
7. The Masters' tones and measures are many in name and kind
8. Such a scholar as David, we've never yet seen
9. Be well assured of my good favour
10. Now to a trial, as summoned hither
11. The feast of John, Midsummer day
12. Aha, I think you've gone too far
13. By silent hearth, one winter's day
14. Strange is the case
15. To make your footsteps safe and sure
Act II
16. Now Begin! So cried the sun with the land!
17. Then have you finished?
18. Stay, Masters! Why so much haste?
19. Now from the thorny thicket...
20. Midsummer day! Midsummer day!
21. What's this? Must you be always in fights?
22. The elder's scent, how tender
23. Good evening, Master!
24. Ah, my own love, ah my true love!
25. Beloved, curb your scorn
26. Jerum! Jerum!
27. Was that your song?
28. I see now dawning daylight
29. Say, are you finished?
30. Hark to what I say, good people
17. Then have you finished?
18. Stay, Masters! Why so much haste?
19. Now from the thorny thicket...
20. Midsummer day! Midsummer day!
21. What's this? Must you be always in fights?
22. The elder's scent, how tender
23. Good evening, Master!
24. Ah, my own love, ah my true love!
25. Beloved, curb your scorn
26. Jerum! Jerum!
27. Was that your song?
28. I see now dawning daylight
29. Say, are you finished?
30. Hark to what I say, good people
Act III
31. Prelude
32. Here, master, here!
33. St. John baptized in Jordan's stream
34. Fools! Fools! Ev'rywhere fools!
35. My friend, good morning
36. My friend, in joyful days of youth
37. Warm in the sunlight, at dawning of day
38. A Trial Song by Sachs!
39. You rate yourself really, much too poorly
40. Here's Eva! I had wondered where she was!
41. Lured by their dances, the stars glided down
42. O Sachs! My Friend!
43. A child has been created
44. The heavenly Morning-Dream Love Story
45. Now let's be off! Your father greet!
46. Saint Crispin! Saint Crispin!
47. You dance? Look out if the Masters see you!
48. The Mastersingers! The Mastersingers!
49. Awake! The dawn of day draws near
50. Words light to you, bow me to earth
51. Bathing in sunlight at dawning of day
52. Warm in the sunlight, at dawning of day
53. Do not disdain our Masters thus
32. Here, master, here!
33. St. John baptized in Jordan's stream
34. Fools! Fools! Ev'rywhere fools!
35. My friend, good morning
36. My friend, in joyful days of youth
37. Warm in the sunlight, at dawning of day
38. A Trial Song by Sachs!
39. You rate yourself really, much too poorly
40. Here's Eva! I had wondered where she was!
41. Lured by their dances, the stars glided down
42. O Sachs! My Friend!
43. A child has been created
44. The heavenly Morning-Dream Love Story
45. Now let's be off! Your father greet!
46. Saint Crispin! Saint Crispin!
47. You dance? Look out if the Masters see you!
48. The Mastersingers! The Mastersingers!
49. Awake! The dawn of day draws near
50. Words light to you, bow me to earth
51. Bathing in sunlight at dawning of day
52. Warm in the sunlight, at dawning of day
53. Do not disdain our Masters thus
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4.5
Based on 4 reviews
✓ Top Reviewer
United Kingdom
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Richard Inverne
Interesting, this. It was broadcast seven months after the classic one which is available on Chandos. Of course, that boasts Remedios as Walther, whilst this one has Connell Byrne, an able rather than inspired replacement (but Remedios was one on his own!) Where this performance scores is in the overall somewhat more assured performance of the ensemble cast – not the least being Norman Bailey, more at home as Sachs than in the earlier broadcast. Happy the Meistersinger-phile who possesses both!
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Gene in LA
I had the good fortune to see the New York City Opera’s production in L.A., with Norman Bailey as Sachs, Johanna Meier as Eva and the great, greatly-missed John Alexander as Walther. Julius Rudel conducted. I believe NYCO was borrowing the English National Opera production, done in Andrew Porter’s English as The Mastersinger. It was quite possibly the greatest single opera performance I’ve ever seen.
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Joseph Brand
This recording was made in the London Coliseum which Sadler’s Wells Opera had moved to only a few weeks earlier. This no doubt accounts for the better recorded quality. I was at this performance. Alberto Remedios was indisposed and Connell Byrne was a last-minute substitute who therefore saved the day allowing the broadcast to go ahead.
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