Customer Reviews

Wagner: Die Meistersinger Von Nürnberg

5 star:		(6)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

SOURCE:
This is an assembled production built up by Walter Legge from portions of a rehearsal on July 27 and live performances in the Festspielhaus in Bayreuth on August 5, 16, 19, 21 and 24, 1951. It was originally issued by Columbia Records on 68 sides (34 disks) at 78 rpm, making it the largest production ever issued in that format.

SOUND:
This reocrding is one of producer Walter Legge's first attempts to crack the problem of recording the unique sound of Bayreuth. There are undoubtedly faults, as pointed out by prior reviewers. For those who insist on hearing the worst, it should be noted that the new tape recording technology of the era was not quite up to such a huge project as this one, so there are a few occasions of overloading, fade away and discernible joins. Nevertheless, the overall effect is not as bad as all this would seem to suggest. Considering that it is a first attempt, the mono sound is acceptable and capable of pleasing any listener who is more interested in the performance than the sound technology.

CAST:
Hans Sachs*, cobbler - Otto Edelmann
Walther von Stolzing, knight - Hans Hopf
Eva Pogner - Elisabeth Schwarzkopf
Sixtus Beckmesser*, town clerk - Erich Kunz
Veit Pogner*, goldsmith and Eva's father - Frederick Dalberg
David, apprentice cobbler - Gerhard Unger
Magdalena, Eva's nurse - Ira Malaniuk
Fritz Kothner*, baker - Heinrich Pflanzl
Kunz Vogelgesang*, furrier - Erich Majkut
Konrad Nachtigall*, tinsmith - Hans Berg
Balthasar Zorn*, pewterer - Josef Janko
Ulrich Eisslinger*, grocer - Karl Mikorey
Augustin Moser*, tailor - Gerhard Stolze
Herrmann Ortel*, soap maker - Heinz Tandler
Hans Schwarz*, stocking weaver - Heinz Borst
Hans Foltz*, coppersmith - Arnold van Mill
Nightwatchman - Werner Faulhaber.
(* Member of the Guild of Master Singers)

CONDUCTOR:
Herbert von Karajan with the Bayreuth Festival Orchestra and Chorus.

DOCUMENTATION:
Libretto in German.

COMMENTARY:
The Bayreuth Festival was reborn from the catastrophe of the war years in 1951. Its former director, Winifred Wagner, the composer's British-born daughter-in-law and dear friend of Adolf Hitler, was still very much alive but she had been firmly removed from any authority at the Festival because of her loudly proclaimed political affiliations. Her sons Wieland and Wolfgang were in charge of the officially de-Nazified Festival and of its nearly empty treasury. It is a famous part of opera lore that the bothers coped with both problems by presenting semi-abstract productions with next-to-bare stages, few props and simple (not to mention cheap) costumes, all bathed in elaborate lighting plots. All those things were certainly true of the soon-to-come "Tristan und Isolde," as produced by Wieland Wagner.

But Rudolf Hartmann's 1951 "Die Meistersinger von Nuernberg" was still very much a traditional production. Contemporary photographs show St. Katherine's Church in the first act to have been realistic and almost oppressively massive. Hans Sach's shop in the second act was set on stage right at the side of a broodingly authentic-looking Sixteenth Century cityscape. The interior of his house in the first part of act three was dimly-lit and gloomily realistic. Only the final set gave a hint of things to come, for Nuremberg was reduced to a bare stage with risers on each side and across the back, with what appear to be cut-outs of the skyline placed flat against a sky scrim. Costumes and props were resolutely realistic and clunky throughout. All that would change in the next "Meistersinger" production when Wieland got his hands on it ... but not yet.

Less articulated in opera lore is the fact that the new production style was not terribly significant then and much less so now. What was important was that the post-war period was a time of immensely skilled older conductors (as well as that youngish whippersnapper Karajan) and brilliantly talented singers. Consider the cast list: Edelmann, Kunz, Unger, Malaniuk, Stolze, and yes, even Hopf are names to conjure with. And Schwarzkopf is pure magic.

In the nature of things, the titanic egos of the Wagner brothers and Karajan led to conflicts. Not long after this recording was made, Karajan withdrew in the course of a feud over something or other, so the revival of the "Meistersinger" production in 1952 was led by Hans Knappertsbusch (who would feud with the brothers and depart in 1953.) The Knappertsbusch-led performance of "Die Meistersinger" of July 30, 1952 has also become available on CD, perhaps a little more happily recorded than this one. The cast is much the same, with the absence of Kunz, the substitution of della Casa for Schwarzkopf and the addition of brilliant newcomers Theo Adam and Gustav Neidlinger in small parts. The contrast of the two versions is enlightening. Knappertsbusch was the ultimate traditionalist, while Karajan was already beginning to reshape music in his own image.

This is a famous--if artificially assembled--performance from a famous production. There are occasional rough spots, as is to be expected in a live performance. The overall performance is fine. Even Hopf, who had the voice and the strength to be great but not the understanding or the will, is bearable. In fact, he is noticeably better here under taskmaster Karajan than he would be in the following year under the less insistent Knappertsbusch. Schwarzkopf is wonderful. (Her only equal as Eva was the luminous but shamefully under-recorded Elisabeth Gruemmer.)

Good performance, great conductor, stellar cast. It's not perfect, for no "Meistersinger" recording is ever likely to be, but it is certainly worth five stars.

NOTE ON ANOTHER VERSION:
This set set unavailable at the moment. As I write this, I see that Amazon UK has a perfectly acceptable version from Naxos, although without a libretto. That version, of course, is freely available here in Vancouver's classical record stores.

Herbert vo Karajan's 1951 recording of Wagner's Die Meistersinger can be recommended without reservation. Even those with the most demanding needs for modern recording quality will recognise the benefit of sacrificing some of the finer points of sound quality for the greater immediacy, excitement and inspiration of this legendary performance.
For those accustomed to Karajan's later recordings, what is surprising about this recording is the freedom with which the whole piece is played, with tempos and dynamics allowed a freer reign than in some of Karajan's later, and drier, work. The Bayreuth playing brings out the work's celebratory nature better than any recording since, and Karajan's conducting allows all involved to respond when the score calls for an increase in adrenalin levels. Walter's entry in Act 2 is a case in point.
The singers give superb characterisations. Walter's impetuous and naiive romanticism is powerfully portrayed by the vibrany singing of Hans Hopf, whose spontaneous singing at the end of act one is quite magnificent. The central romance of the opera is further aided by the beautiful and at times poignant singing of Elizabeth Schwarzkopf, who's softer voice gives exactly the right level of innocence to the character.
The highlight, though, is Edelmann's imperious Sachs. Unlike some since, Edelmann understand's that Sachs is not just an old man, but is also one who has an important element of mischief (at the end of acts one and two), and a compassion for the common person. More than this, Sachs is also a character with a strong German nationalism (however unpopular that might be, it is something Wagner was certainly not ashamed of) and a sadness that never touches on self-pity. No other portrayal of this complex character quite brings out all the elements of the character, as well as providing some wonderfully musically singing. All the smaller parts sing there parts well, especially the somewhat pathetic Kunz as Beckmesser, whose interaction with Edelmann adds a lot to the comic aspect of the story.
Other recordings offer more control, more technical perfection (there are rare moments when mistakes are made, such as the opening chord of the overture), and improved sound quality. But none have matched the vibrancy, power, and characterisation that Karajan's early recording offers. A classic against which all other performances of this masterpiece must be judged, and against which all fall short.

This was the first Meistersinger of the New Bayreuth. And what a performance. From the first bar on Karajan takes command of this big ship and leads the guilds gloriously through the narrow streets of Nurnberg to end in a grandiose way on the pastures outside of the city. Allthough the recording lacks a little balance (f.e woodwinds pushed to the background), it still shows an orchestra and a chorus with tremendous character and vibrance, especially the strings throughout the evening. Wilhelm Pitz, the Bayreuth chorus master, made the chorus definetely one of the stars of this production. What a sound and coherence (listen to the first minutes of the 2nd act). Besides the orchestra and the chorus, the other shining star was without question Elisabeth Schwarzkopf and her performance of Eva. Radiant and fluid, Rosenkavalier-like, this was to be her last appearance on the Hill. Her part in the 3rd act is unsurpassed ("O Sachs, mein Freund,...") and not to forget: the quintet were she is joined by the other four main characters in excellent shape. This is the essence of Wagner: Wort und Ton ( words and music) and this was the principal achievement of Karajan and his crew in this production. A must.

Karajan's live '51 recording under the direction of Walter Legge is truly a testament to Art herself.

Perfection and Excellence are the mottos of this historic performance.

The intensity Karajan brings to the score is overwhelming..just listen to the overture for instance!

The sound is in wonderful mono...better than Naxos's recent re-issue or that of Uarania. Unfortunately this set is discontinued from EMI, and only comes with the German libretto. Nevertheless, what is most interesting in hearing this set is the "dramatic through line" which is rarely captured on record, but is self-evident and vivid thanks to Karajan.

A fantastic display piece is you ever find it used. You will fall in love with Meistersinger all over again listening to this recording.

(Note: the following review duplicates the one written for Knappertsbusch's 1950-51 recording, but it applies equally to Karajan's from the same period.)

In the history of recordings the first studio account of Die Meistersinger was conducted b Hans Knappertsbusch in Vienna. It took a full year, between 1950 and 1951, because the Hans Sachs, Paul Schoeffler, fell ill during the initial sessions, leading to a long hiatus. Decca went ahead and released Act 2 of the opera; the complete recording appeared in 1952. Meanwhile, at the reopening of Bayreuth in 1951, Decca's arch rival EMI made their own Meistersigner based on five live performances and a rehearsal. (It was released on 78s, amounting to 64 sides, a record number.) If you search Amazon.com and Amazon.co.uk, you can now get up-to-date remasterings done by Mark Obert-Thorn of both recordings on the Naxos Historical line. So how do these two Meistersingers stand up after six decades?

Knappertsbusch 1950-51: My three-star rating gives away that this isn't a favorite set. Perhaps because he was working from a collector's vinyl pressings instead of masters, or because he had to tame some shrill highs, Obert-Thorn has achieved a muffled sonority that casts a pall over the playing of the Vienna Phil. (this is the famous Decca "full frequency range sound"?) Things improve with the voices, which are closer and clearer. Kna himself is fairly lively and always genial. He knows the score and approaches it in a relaxed, affectionate manner. So do his singers, and therefore this stands as a traditional account, looking backward rather than forward. Everyone is so twinkling and comfortable that the drama falls through the cracks. But one good thing is that Kna doesn't lapse into slow motion except occasionally, as in the opening church chorale in Act 1 and the Dance of the Apprentices in Act III -- it could be the Dance of the Retireees.

Among the leads, all were stars from the Vienna State Opera or stars in the making. Hilde Gueden's Eva is charming and fresh, matched by Anton Dermota's David, which is probably the most congenial on disc. Too bad that his voice sounds better and at times bigger than Gunther Treptow's plain, sturdy Walther. Treptow does a good-enough job; he doesn't bawl or force his high notes. But there's no charisma and barely any legato. His throaty timbre has little bloom, either. As for Sachs, Schoeffler was a beloved singer, but he's so suave and smooth that I barely sensed a person, much less one torn by conflict or unrequited love (a more modern angle on Sachs's interest in Eva). All the other roles are sung with assurance. Overall this Meistersinger is at its best reminding us of a bygone tradition, so one can't blame it for seeming at times like a daguerreotype.

Karajan 1951: By comparison, the Bayreuth Festival was doing everything it could to put the past behind it, along with all associations between itself and the Nazi era. Musically, Karajan was also dusting off the classics, and his conducting feels alive and forward-moving. He finds far more drama in the score than Kna. The Bayreuth orchestra plays in that same vibrant spirit, and EMI's engineers avoid making the orchestra sound buried under the stage. Still, the sound is edgy and shatters in loud passages. There's lots of stage noise, including the tramping of the guilds in Act III as they enter. (I haven't yet heard Obert-Thorn's remastering, which no doubt brings considerable improvements.)

On balance the cast is as good as the one for Decca; no surprise, since Bayreuth is the crowning jewel of German opera. Otto Edelmann, who sings Pogner for Kna, is more robust and authoritative than Schoeffler as Sachs. Gerhard Unger's David can stand honorable comparison to Dermota. But then we have a huge up and down. Elisabeth Schwarzkopf is unsurpassed as Eva, bringing out every facet of the character in thrilling voice -- she's radiant. But Hans Hopf is the worst of Walthers, bawling his way through the Prize Song so miserably that you want to give the palm to Beckmesser. His soft singing is tolerable, though hardly beautiful, but his vocal acting is nil. Hopf has always been the black sheep of this famous recording. A lot depends on whether you can even tolerate him. I waver on the cusp.

In the end, if Knappertsbusch had applied more energy and his cast more vitality in their portrayals, they could have surpassed the Karajan recording, but they don't. Meeting at the crossroads, Karajan's forward-looking performance fits our tastes today, while Kna's remains a souvenir of a bygone era.

I am completely satisfied with the item. It was in an excellent state and was exactly as it was described.

This transfer of the 1951 Bayreuth recording to CD is soso. The bassoon at the second act can barely be heard. The EMI recording is out of print. The supplier was fine, it is the tape to CD transfer I am criticising. It is a dream cast for the first post-war Wagner festival.

I had this recording 50+ years ago in its early US "incdiscnation" on Columbia. I recall only that it is powerful performance stolidly led by von Karajan. Great Sachs, funny Beckmesser, lovely Eva, solid Magdalene, impressive and properly light David and "hopfless" Hopf. This is possibly the worst performance of Walther ever sung. I cannot imagine worse! Here he is the Florence Foster Jenkins of legitimate opera. Too horrible to even consider! I figured he had this role because he survived the "night of long knives" or possibly the "knight of long nives" by accident: a plausible conclusion given the horrible sounds he produces throughout his performance. Unfortunately the orchestra does not play loud enough when he is singing: he unfortunately can be heard.

One star: Hopf takes away four of the five stars -- yes, he is that bad-- but the rest of the cast and conductor get five stars making a total of one. Unfortunately Wagner gave Walther a lot to sing and much of it some of the most beautiful music he ever wrote. So*, there are long periods of pain for the listener. He is worse than most people remember! (-4+5 = 1. I really think he takes away five stars, but you cannot choose 0 stars. So the rules give the recording one star.)

*the German meaning of the word, so.