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Les Maitres Chanteurs De Nuremberg
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Description du produit
Richard Wagners Meistersinger mit Dirigent Christian Thielemann an der Wiener Staatsoper: Ein Triumph! Bei Wagners Meistersinger von Nürnberg kommt es zuallererst auf den Dirigenten und das Orchester ankommt. Und was diesbezüglich in der Staatsoper zu hören war, hat man bei diesem Werk schon seit vielen Jahren nicht mehr in dieser Qualität gehört. Wer weiß, wann man es (nach den Reprisen) wieder hören wird... Thielemann ist ein idealer Gestalter dieser ach so komplexen Partitur, hat keine Berührungsängste mit Pathos, großer Emotion und großer Geste. Und ist dann wiederum so sehr um Transparenz, Klarheit, Noblesse und Eleganz bemüht, dass er Orchester und auch den Chor (etwa die gigantisch besetzten Zusatzchöre auf der Festwiese) bremst, weil es ja um Verständlichkeit, um Wortdeutlichkeit, ja auch um die kleinen zwischenmenschlichen Probleme gehen muss, die in diesem Riesenwerk verhandelt werden. Hier geht es nicht um unfallfreie Bewältigung, sondern um Präzision, Interpretation und klare Führung durch den Dirigenten.
Die Meistersinger" wieder in Wien meisterlich! Selbstverständlich ist aber auch eine erstklassige Sängerbesetzung im Sinne des Gesamtkunstwerklers Wagner für diesen Triumph verantwortlich... Jubel! (Kurier, Wien)
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You have Christian Thielemann in the pit, a conductor who is regarded by many, including myself, as the greatest living interpreter of late romantic German opera; you have the Vienna Philharmonic doubling as the Vienna State Opera Orchestra, it gets no better than that; on a lesser level you have a penny plain, old-fashioned set by Otto Schenk, from a 34 year old production. It isn't one of those panoramic extravaganzas as you'd see at the Metropolitan Opera but it is charming, and aside from the astro turf in Act 3, satisfactorily fulfills the visual requirements for a small scale production of this vast opera. I should mention one gaff in the costuming, those terrible hats for the ladies in Act 3, in fact, the costuming for the chorus, generally speaking is a pretty mediocre. Schenk's productions are never very exciting in the couture department. And the skirmish at the end of Act 2 is directorially uninspired.
The casting of the two 'young' lovers is where the problem arises with this film. Ricarda Merbeth, Eva, is an unremarkable, matronly singer with a wobbly voice one size too large for this part. She is also not a very pleasant singer to watch up close. She makes some fairly alarming faces, bordering on gurning, when she sings, at times looking as if she were in the dentist's chair having her teeth cleaned. Her mouth is huge and it's open most of the time, even when not singing herself.
Her acting skills are for the big stage, not film. She stands and delivers in a stentorian fashion. She isn't an insuperable blot on the cast but her every entrance elicited an unrehearsed groan from my mouth. Johan Botha looks like his weight must be hovering around 350 lbs, but he sings like the highest angel and is the vocal embodiment of the young knight/lover. I found myself enjoying much of this film by shutting my eyes and just listening, it helped. Fortunately Botha has a sunny and charming personality which suits this part well and, though you never forget his size, he is not as irritating as his Eva.
The rest of the leads are splendid, notably the wonderful, funny and handsome Hans Sachs of Falk Struckmann. I haven't heard him sing this well in a long time. He seems to have overcome a period of wobbliness and emerged in prime vocal condition. Struckmann sings all the major monologues very well, putting it all into the last scene of Act 3, a noted killer, but the voice sounds easeful to the very end of this gargantuan bass-baritone role. The other great performance comes from Adrian Eröd as Beckmesser. This man is funny and he sings beautifully. The surprise performance was from a great new bass from Estonia named Ain Anger. He's a tall, young, handsome man and sings like he's destined to be the next great Wagner/Verdi bass. He also has a strong top voice and made me think he will someday be a fine Sachs himself, and perhaps even a Wotan. He's in the Hans Hotter mould, vocally. A true bass with a strong top and excellent dramatic skills. The only problem, if it can be called that, is that he looks like his daughter's (Eva's) younger brother. Michael Schade is very good as the young apprentice, David, though a bit old and neckless for a young buck, but his physical appearance is in no way an irritant.
Magdalena, Eva's nurse, is beautifully sung by a young mezzo, Michaela Selinger, who looks a good 10 years younger than her charge, making me wish she were singing Eva and not the other way round.
The Big Moment is, for me, the exquisite Quintet in Act 3. Eva is crucial here and Merbeth does absolutely nothing in the area of vocal nuance, and she hasn't a ghost of a trill. Once the other four begin to sing it gets better but Merbeth has a huge, noisome kind of voice that over-rules all the others; what's worse, she is placed forward of the rest and her over-singing dominates this great ensemble and sucks all the poignance from it. It was a great pity that the Vienna State Opera couldn't have hired Anja Harteros or Dorothea Röschmann, both of whom would have been exquisite as Eva.
It's a great shame because the other singers and Thielemann are splendid.
Having written all that, this is probably the most satisfying filmed M'singer that I know of. Certainly better than Wolfgang Wagner's production from Bayreuth in the 1980s, and more enjoyable than the regie theatre cartoon production by Katharina Wagner from the Bayreuth Festival a couple of years ago. The Barenboim film falls between these two stools. It's sort-of traditional but also rather sterile looking in a modernistic sense, especially Hans Sachs' white cubicle of a shop which resembles a cell in a mental institution. Barenboim has a finer Eva in Emily Magee and Peter Seiffert is almost up to the level of greatness (vocally) as Johan Botha, but he is also resembles a sumo wrestler.
I'd highly recommend this Viennese film if you are not averse to a traditional, slightly dull/cosy production with an unsightly leading couple, indeed a downright bad Eva that may keep some collectors from buying this otherwise quite outstandingly cast M'singer.
A late addenda, five years later! If you want to know what the fuss about Christian Thielemann is all about try to find his performances from radio broadcasts here and there. The most glorious of all Meistersingers in my extensive collection is his live performance from the Lyric Opera of Chicago in 1999. It is astonishingly joyous and alive, the audience even laughs when they are supposed to! No po-faced worshipfulness like you find in Bayreuth, Vienna and other shrines of Wagnerian performance. And Jan-Hendrik Rootering's Hans Sachs, otherwise unavailable on commercial release (he isn't charismatic enough for the bean counters at the big labels, I suppose) is magnificent. Gösta Winbergh's Walther is also in a class of his own, even surpassing Sándor Kónya for Kubelik in vocal beauty and soul-commitment, if I can coin a phrase there. The cherry on the top is Eike Wilm Schulte's nigh-perfect Beckmesser. He sings beautifully when he needs to but is also sublimely funny and cracks the audience up a number of times. The Quintet is sublime into the bargain, led by the usually rather nondescript Nancy Gustafson who absolutely shines in this performance as Eva. René Pape and Michael Schade round out that extraordinary cast. This was a one-off and I'm lucky to have snagged these old tapes. The point is, Thielemann is On Fire when he's in the pit and not under pressure to live-up to his reputation with microphones and cameras running and a big recording or film contract hanging over his head. That night in Chicago he was In To It, even more than he was in 2000 at Bayreuth, I have that one too, when one can only imagine the pressure weighing down on the heads of all concerned to be Perfect. I'll skip perfect in preference to heart and soul, and great singing of course.
I mention this only as an example of how to suss out the secret to adding truly great recordings of anything to your library. Keep your recording machinery well-oiled and your eyes peeled and your gut instincts fine-tuned.
And don't give critics too much credence. Haha. Each to his own tastes!
Which makes this DVD very unusual, since it's basically a recent recording (2008) of a very tradional production of Meistersinger, conducted by a dynamic modern conductor. The production, in fact, is after the style of Otto Schenk, as seen on the Met DVD. (You might like to compare the two).
The conductor is Christian Thielemann, who brings a breath of fresh air into the piece, without losing its charm and humanity. He's extremely popular in Europe at the moment, and received thunderous applause at the end of the performance. Indeed, his interpretation was superb, but I felt that he could have moderated the volume a little, to give the singers more of a chance. The chorus was inaudible at times, and Falk Struckmann's voice began to fade towards the end - no doubt from trying to compete with a full orchestra with the volume turned up to eleven.
Meistersinger is an opera which demands good voices and good acting. For the most part, the soloists' performances were excellent. Struckmann's Sachs and Botha's Walter were beautifully sung and acted. Schade's David was also top-notch; he has a sublime voice, too. Adrian Eröd portrayed Beckmesser as somewhat of a fop, with a rather Gallic appearance, an unusual approach which worked very well. Ain Anger's Pogner was also worthy of mention - great presence.
Ricarda Merbeth's Eva was somewhat less impressive. Her voice was adequate, but her acting was non-existent - she spent most of her time staring at the conductor. Add to this her unfortunate, and very distracting, habit of making wild grimaces while singing and it's little wonder that her curtain call met only polite applause. Just as well she wasn't in front of a Bayreuth crowd.
But in this world, few things are perfect, especially opera performances. On balance, I think this is an excellent version, not only as a worthy addition to the collection, but a good introduction to Meistersinger for those who haven't yet discovered it.
The virtues of this set are immeditately apparent: Christian Thielemann and the Vienna Philharmonic. To this I would add Falk Struckmann. His is a great performance even if the voice is not as beautiful as Weikl's or Brendel's. He clearly has the measure of the role and it shows in everything he does. It is a superb performance.
Von Stolzing is Johan Botha, a tenor I knew of but had only heard in the gala that celebrated the fiftieth anniversary of the State Opera: excerpts from Aida. Wagner is clearly his fach, and it must be said that he sang beautifully with poetic sensitivity. Alas the man is grossly overweight. For interesting comments the artist has made search out the Mostly Opera blog. Whether or not we agree with it we live in an age when appearance counts as much as voice and talent. Botha carries most of his weight around the center (not unlike Pavarotti) limiting his ability as an actor--he really doesn't try which is probably for the best. Heppner is heavy as well, but the weight is distributed differently--it makes a difference.
Another virtue of this set is Michael Schade as David. He, too, is putting on weight, but he could have been costumed better and masked his figure more adroitly.
No, the real fly in the oitment is the Eva. I have seen her name in various publications, but I truly hope I never hear her again: Ricarda Merbeth. It is a voice without distinction, real technique and style. What she is doing on the stage of one of the greatest opera houses in the world is mystery. Where is that wonderful creamy Viennese sound that was one of the hallmarks of sopranos that hailed from this part of the world? It is interesting to note that this has been a very difficult role to cast on DVD. CD's (and LP's) did a much better job, starting with Schwarzkopf, Gueden, Della Casa, Donath, Janowitz and Mattila--who is probably the best on DVD.
Schenk's staging IS conservative and in Acts I and II and Scene I of Act III apt and appropriate if without imagination or distinction. Had the singing of all participants matched the artistry of Falkmann I doubt if I would even bring the subject up. But it didn't and for all the reasons I have set out it can't pass without comment. I don't know if this is a recreation of the original or the Original. The State OPera can do better.
If I were asked to make a recommendation on which Meistersinger would be my desert island it would be one that many might be tempted to pass over: the Deutsche Opera Berlin. Its virtues are many and the singing on the whole is first rate. I would hate to part with Bern Weikl's wonderful Sachs and Barenboim's conducting on the second Bayreuth DVD. Ah, the pain and pleasures of collecting DVD's!
Struckmann may not have the most beautiful of voices, but he sings with great insight and artistry and is a superb actor. Here is truly a humane and masterful poet/cobbler, a man of modesty, humor and great sensitivity. He is also a joy to watch, a physical actor who communicates a great deal with his movements. Struckmann and the wonderfully funny and unexaggerated Beckmesser of Adrian Erod display a delightful interplay both when the town clerk thinks he is wooing Eva in act two and when he spies upon a new song on Sach's desk in act three. Erod has a superb comic touch; his attempt at the prize song is a hoot.
Johan Botha may be quite large, and not ostensibly a romantic figure, but he not only has the stamina and huge vocal goods for Walther, he also exhibits a twinkle and chemistry with Merbeth that is charming. For a big man, he moves pretty well, too. And if, in the cruelly exposed visual world of DVD and blu ray, one objects to his weight, fine. But if so, we're going to have to forgo the vocal splendors of Pavarotti, and in Wagner, Stephanie Blythe, Ben Heppner, Christine Brewer and others. Our loss.
Estonian bass Ain Anger is an expressive and richly detailed Pogner, albeit perhaps a tad young for the role. Canadian tenor Michael Schade is a pure voiced, excellent David. Merbeth, it is true, can be a mouthful to watch, with her exaggerated facial movements, and has a voice produced with altogether too much effort. Still, I find her not that difficult to listen to, if not terribly rewarding. Damning with faint praise, I suppose, but my enjoyment of this Meistersinger remains in spite of her.
Thielemann leads an insightful reading (he is hugely rewarded by the audience in the curtain calls). He pace is often broad but never drags, and he knows when to screw up the tension, as in the riot ending act two. And the Staatoper Orchestra makes every sound count. They have a rich, dark palette ideal for this music and are a joy to listen to.
The 1975 Otto Schenk production looks remarkably good for its age, although a bit worn around the edges. With the close ups and sharpness of today's video, the sets occasionally seem in need of a minor paint touch up or two, and could use a little refinishing on a chair or two. But this is minor. The audience would never see these small blemishes. Schenks's sets and costumes (updated by Jurgen Rose) look utterly right. There is a burnished Dutch Masters look to the master's costumes and their seating area in act one, replete with little nameplates of each master in front of where they sit, a delightful touch that would never be seen by the live audience. Act two's evening in Nurnberg has a lovely charm to it and a real looking cobbler's area, with Struckmann banging away with his hammer on shoes with authority.
The final scene, the crown of the work, is just superb here. The stage may be crowded but the imposing, massive sound of the Staatsoper Choir - the people of Nurnberg - offers rich vocal commentary to the workings of Walther and Sachs, and brings a gulp to the throat, a moment of frisson, not to be forgotten. We are sent off into the night with a sense of joy and uplift rare in the opera house; perhaps only the massive choral incantation in the finale of Fidelio conveys something of a similar rapture.
Large kudos to video director Tiziano Mancini and his Italian film crew. I think he is the new Brian Large. Everything is in the right place and Mancini knows where the camera should be, especially in the subtle comedic interactions. There are no missteps here; he both reveals and enriches the action. Even in the final scene, replete with the huge crowd, he brings relevance to both the size and the individuality of the group. An outstanding vision.
A great DVD, in spite of some faults. With two other outstanding videos of Meistersinger - Fruhbeck de Burgos and the Deutsche Oper from 1995, and Jurowski and Glyndebourne from 2011 - we are spoiled utterly in this great work.