Review: Die Meistersinger, by Welsh National Opera, at Birmingham Hippodrome

Jul 9 2010 By Christopher Morley

Unless it’s the compact little gems which are Das Rheingold or Der Fliegende Hollander, hearing a Wagner opera takes a whole day out of your life, and Die Meistersinger takes the most.

But when it is delivered in a production such as the current one from Welsh National Opera, six hours simply fly by. Everything under Richard Jones’ direction is so natural and unforced, Lothar Koenigs’ orchestra punches with the weight we know it can (fabulous Stadtpfeifer trumpeters aloft in the boxes at the end), but also delivers filigree chamber-music textures, and the superlative chorus fulfils all the dreams I have cherished over more than 40 years of wishing to hear this company in this stirring community opera.

And there are no “stars” in this show – they are all stars.

Bryn Terfel is a wonderful Hans Sachs, humanity and wisdom issuing from every pore, but there is nothing “look at me” about his gently imposing performance.

The rough affection with which he treats his apprentice David (Andrew Tortise, with a charming girlfriend in Anna Burford’s sweet Magdalene) is heartwarming, and his patient tutelage of the hotheaded Walther von Stolzing (Raymond Very, pacing himself well for the crucial Prize Song) is equally endearing.

Amanda Roocroft brings much personality to Eva, the proffered prize in the song competition (how sexist is that?), and Brindley Sherratt is well-rounded as Pogner, her father.

And Beckmesser, the pedantic Town Clerk who fancies himself as Eva’s suitor, is played with immense dignity by Christopher Purves, such a versatile performer.

Paul Steinberg’s designs are simple and effective (Sachs’ cluttered room looks like my study), but there were a few gremlins in the auditorium: house lights cosily on, at times, surtitles occasionally on strike at crucial moments. But wow, what a show!

Rating: 5/5
Repeated Saturday (4pm).
Running-time: six hours.