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(More customer reviews)Wagner would approve of this 20th century example of gesamtkunstwerk - fusion of the arts. The one thing he had been missing in his panoply was the advantage of modern recording technology and cinematography. Here, though, Rolf Liebermann acts on Wagner's behalf. In this production the camera enhances this Meistersinger, functioning as a creative element, rather than just recording a staged performance. The camera brings us right into the lively activity of this enjoyable production from the Hamburg State Opera.
This lovely, traditional performance of Meistersinger is unexpectedly fine in many ways. Georgio Tozzi is outstanding as Hans Sachs, which he called his "proudest professional appearance", and watching him in this Hamburg film, one can see why. His Italianate Sachs is handsome, warm, witty and most importantly - quite beautifully sung. In fact, Tozzi's ebullient Sachs is as winning and well-sung as that of any Bayreuth sacred cow of the golden era of Wagnerian singing. What a surprise, and what a pleasure.
Not all the voices are flawless, but none are bad or painful to listen to, which can often occur in Wagner. In fact, most are quite good. Richard Cassilly does a perfectly fine job as Walther, and although his acting is a bit on the wooden side, we're grateful that he sings his part without strain or crudeness. Frankly, this is the best I've ever heard him sound. He's not my favorite heldentenor, but he comes through for us here. He's a very large man and he mostly stands and sings with few expressions or gestures. But that's okay because everyone else is so animated in this Nuremberg that we can overlook Walther's (or is it Cassilly's?) self conscious and shy behavior. And we can thank the gods that he doesn't sweat all over the soprano like he did in the Met Tannhauser.
Cutting to the chase, the quintet is beautifully sung. Arlene Saunders carries the line without faltering, and the other members of the cast join in and produce a glorious, moving conclusion to the emotional scene in which Sachs, once and for all relinquishes the nubile Eva to Walther.
As an ensemble piece, this Meistersinger comes together beautifully. This filmed production never loses its dignity. There's none of the slapstick or crude humor of many stage productions of Meistersinger. Its funny but never silly.
All of the characterizations are compelling. The Eva of Arlene Saunders is well acted and beautifully sung. She's no teenager but she's an attractive enough woman with a beautiful voice and excellent dramatic skills. Toni Blankenheim, while not exactly a bel canto Beckmesser, is never hateful or ridiculous and his singing never sinks to the level of undignified cackling. Gerhard Unger is a famous David, and it's nice to see his amorous attachment to Magdelene performed with affection and sincerity.
Meistersinger is a very long piece with some uncomfortable and dark moments. Sach's physical punishment of David and his lengthy - and prescient - extolling of German art at the end make for some unappealing aspects of this opera, but for the most part it's an immortal work of great beauty. A quite lengthy opera, but it hangs together here and never gets lost in the frequent longueurs of other performances.
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