Search - Richard [Classical] Wagner, Georg Solti, Vienna Philharmonic Orchestra :: Wagner: Die Meistersinger von Nürnberg

An Outstanding--and Underrated--*Meistersinger*

Johannes Climacus | Beverly, Massachusetts | 02/15/2010

(5 out of 5 stars)

"*Meistersinger* was the only Wagner opera that Solti recorded twice, and the two versions make for fascinating comparisons. The later, digital version (from the mid-1990's) reflects the aging Solti's predilection for chamber-music intimacy over bombast, sculpted phrasing over angular accents. While the veteran conductor's change of heart (and style) left us with some unexpectedly sensitive renditions of standard orchestral repertoire, oratorio and opera, his later style is less suited to Wagner's most celebratory work. Not only does Solti's digital version fail to convey a requisite sense of spectacle, to say nothing of majesty, in the appropriate places, the singing is also surprisingly lackluster. José van Dam, in particular, is a singularly disappointing Sachs--often insecure vocally and nondescript in characterization; nor do the other principals sound particularly engaged. Perhaps this impression reflects the vicissitudes of a "concert" (rather than a staged, or "studio-staged") performance.



Solti's first recording, offered for the first time in a lower price bracket, is another matter. From the sizzling Prelude to the glorious final peroration, the conductor galvanizes his singers and orchestra to convey this unique opera's heady combination of exultation, rumination, and high comedy. Even though Bode and Kollo are, from a vocal standpoint, far from ideal as Eva and Walther, they are more completely inside their roles than their vocally more glamorous counterparts in Solti II. Dalipozza and Hamari sing mellifluously and act convincingly in the difficult roles of David and Magdalene; both characters emerge as warmly human rather than (as is sometimes the case) tiresomely corny. Weikl is an outstanding Beckmesser: one of the few who genuinely sings rather than snarls, and for that reason he seems a more plausible, and pathetic, character than usual. Moll's warm, sonorous voice is just right for Pogner (as it was perfectly suited for Sarastro). But undoubtedly it is Norman Bailey's resplendent Sachs that crowns this performance, He brings to this role a combination of gorgeously ample tone, deeply expressive phrasing and genial characterization that brings to mind Friedrich Schorr's classic portrayal.



Solti's conducting is everything it should be in this work--majestic, high-spirited and lucid Every strand of Wagner's densely contrapuntal textures emerges clearly and distinctly. Nor do I hear anything like the "squareness" of rhythmic articulation and phrasing of which some reviewers have complained (cf. the editors of the *Penguin Guide*). The orchestral playing, choral singing and recording are all top notch as well (despite some patches of sour tone from the VPO oboist). I particularly appreciate the almost perfect balance of orchestral choirs, and of voices "on stage" in relation to the orchestra, achieved by both conductor and engineers. Given the excellent presentation (with full libretto, albeit with very small type) and modest price tag, this could be a first choice for anyone exploring this astonishing work (arguably the greatest opera every written) for the first time. Veteran Wagnerians will also want to consider it, if only to hear Norman Bailey's glorious Sachs."