Die Meistersinger: 26 June live stream from Glyndebourne

[Guest]

David McVicar's new production with a cast led by the brilliant Gerald Finley has been widely acclaimed. It will be streamed on The Guardian website on Sun 26 June, I think commencing at about 1.45pm. I believe there will be a limited 'Listen Again' facility - but E&OE!

[french frank]

I'll see if I can remember how to put it into the calendar - then a reminder will show up in the What's Going On section at the bottom of the homepage

Some details here.

These are the timings from the Glyndebourne site:

Sunday 26 June 2011
Starts 1:40pm
Intervals 3:15 - 3:40pm, 4:45 - 6:05pm
Ends 8:25pm

Guardian review here.

Seems as if The Turn of the Screw will also be streamed on the Guardian site - on 21 August.

[Osborn]

FF
It's an interesting development actually - a national newspaper deciding to gently tread on the toes of BBC4

[french frank]

FF
It's an interesting development actually - a national newspaper deciding to gently tread on the toes of BBC4

Indeed - and the Guardian too! Quite a paradox with the ROH hitting the big screens and Glyndebourne available in all our homes: it appears that opera is seen as very much the genre of the masses. (And quite right too!)

[Flosshilde]

FF
It's an interesting development actually - a national newspaper deciding to gently tread on the toes of BBC4

Ah yes - remember the days when you could see Glyndebourne productions on ITV - including that 'top of the opera pops' THe Return of Ulyses?

[DracoM]

Cost to view?

[french frank]

Cost to view?

The Guardian stream? Nix, zero, zilch. (They say, in the expression that I dislike, it's 'for free'.) I've now taken in that they also say it will be available for seven days thereafter - so you can watch it as a serial

[Belgrove]

This is also being screened in selected cinemas on the same date. Will be going to this next week, so will report back in due course.

[VodkaDilc]

Indeed - and the Guardian too! Quite a paradox with the ROH hitting the big screens and Glyndebourne available in all our homes

I'm trying to work out the implications of the first five words of this reply! Surprise that it should be The Guardian? Surely not, with its consistently good Arts coverage; and possibly the only national newspaper to have an enthusiast for all things musical as its Editor! Or are you suggesting that The Times or Sun is more likely to compete with the BBC on political grounds? Not that we'd get anything free from that particular source!

[aeolium]

Some years back the Guardian provided free downloads to the complete set of illustrated lectures given by Andras Schiff on the Beethoven piano sonatas. In fact, they're still available on the website, e.g. the first set here.

[Flosshilde]

I suppose that during the interval one goes out into one's garden for a picnic.

[Prommer]

I am going to the performance this Friday, which is the only one to be conducted not by Vladimir Jurowski but by Anthony Negus. Should I feel privileged or shortchanged? I ask as an admirer of Jurowski but equally of Reginald Goodall whose assistant Negus once was but whose work I have not yet heard, at least directly as a conductor.

Negus has been preparing the orchestra and principals so maybe there will be only a cigarette paper of difference on the day...

[Chris Newman]

Anthony Negus has done sterling stuff with Welsh National Opera for many years. You will be in very safe hands, Prommer, I am sure.

[Belgrove]

I mentioned on the Die Walkure thread that Jonas Kauffmann’s performance contained some of the best Wagner singing and acting I have seen, but this was trumped in just a few weeks by Gerald Finley’s Sachs. But his was not the only distinguished performance in this production, which updates the action to the period of Wagner’s birth to no particular advantage or any great harm.

Plaudits go to Alastair Miles who sang with all the warmth and benevolence required of Pogner, a lovely role. Also to Johannes Martin Kranzle who gave an unusually complex characterization of Beckmesser. His hashed attempt at the Prize Song was sung very beautifully; he is, after all, a Mastersinger. I prefer Sachs to be sung by a baritone, but in addition to his glorious tone, Finley supplied the extra insights to colour the text that comes with expertise in lieder. He already is inside the role, portraying Sachs as a rather unstable character, who is conflicted with his relationship with Eva. His is a deeply moving and satisfying portrayal of a complex character.

The playing of the LPO under Jurowski’s direction was sublime – I’ve never heard better, and did not realise there was so much exquisite and delicate writing for woodwind in this work. Who would have thought that Wagner could sound like chamber music?

Do try to see this, in whatever medium is available to you. It is a traditional production but one that uses ensemble to excellent effect. Finley’s magnificent portrayal is, I believe, important in the history of the work. One hopes that it will be captured for posterity.

[Prommer]

Will it be broadcast or just streamed on the Glyndebourne and Guardian websites?

I saw/heard it yesterday at the festival. I was taken aback by both the lyricism and the poetic depth of Finley's portrayal of Sachs, by the glorious lighting of the sets, and by Negus' conducting which in Act 3 had a real sense of arc and span. It was organ -like but not heavy; sunny but wise ; dripping with humanity.