Originally posted by Conchis
View Post
-
'Widely' and 'generally' - not universally though. I was unconvinced by Onegin first time around, but found it compelling on its (revised) revival - not the first time I've felt that about a production. I thought Guglielmo Tell was brilliant, but we have covered that ground ad nauseam on this site; and the same director, at Holten's invitation, also brought us a Cav/Pag which was 'widely considered' a triumph and 'generally' loved. So presumably KH can take the credit for that. (I ended up not going to the Ballo because the production sounded not so much controversial as inert). -
I for one will not be putting him forward to join my club, still less my lodge...Originally posted by underthecountertenor View Post
Comment
-
So the curtain has just come down on the opening night, and it is a curate's egg. I loved the basic concept in Act 1, which is the Mastersingers as a freemasonry dedicated to singing (not building), i.e. a male club.
But it fizzles rather in Acts 2 and 3, and leads to the feminist and anti-climactic conclusion of Eva suddenly deciding that Walther is unworthy after all because he throws in his lot with the guild. So she semaphores a bit in Vicki Pollard mode, and strops off.
The political dimension (ooh Brexit) is pasted on, really, and lands no great punch.
At the general, all did well, though Stephen Milling was out of sorts as Pogner. Pappano did a pretty good job, though the line and Wagnerian melos still elude him.
All in all, a creditable job though entirely lacking ENO's wonderful esprit de corps in 2015, and any charm or humanity.Last edited by Prommer; 11-03-17, 22:57.Comment
-
I don't think many things could efface the memory of the ENO Meistersinger - so much driven by Edward Gardner's superb conducting . However I have to say Bryn Terfel was magnificent as Sachs at the general and if twitter is to be believed he surpassed even his own exceptionally high standards tonight . The quality of his German diction , the modulation of tone - a Mastersinger if ever there was one . I can't wait to see it again. Whatever one' s feelings about the counter- textual ending the whole Sachs / Eva relationship was beautifully directed in Act 2 and 3 and as for the singing ... Truly wonderful. I would strongly advise all Wagner lovers to grab a ticket even if the end dismays you. I cannot remember the last time I saw Eva take the Laurel wreath off Walther's head and place it Sachs's as per Wagner's actual stage directions - in the 70's at ENO maybe....Comment
-
I think we must have seen different shows. Fizzles in Act 2 and 3? Entirely lacking esprit de corps, charm and humanity? That was my fear when I saw the almost oppressive opening set at curtain up, but I found that the opposite was true.Originally posted by Prommer View PostComment
-
The stagecraft was poor, the settings undifferentiated except by some cheap and sometimes strange touches. The concept of the Mastersingers as masonic was perfectly sound - but the portrayal missed any sense that they are actually supposed to care about art, in their rather conservative and rules-bound way, not just how it is received. The stuff with Lena as production assistant and the clicking of cameras was trying to suggest that this was all mere show for the plebs rather than a community celebration on Midsummer's Day.
The mastersingers are - as Pogner sings - seen as caring too much about money, which is ironically why he offers his daughter as the prize. Not a very modern solution to such a PR problem... so I can understand that Holten wishes to focus on Eva's disaffection and rebellion. But obviously it takes a huge liberty with the opera itself.Last edited by Prommer; 12-03-17, 17:46.Comment
-
Again, I simply don't recognise this as reflecting the production I saw.Originally posted by Prommer View PostComment
-
This reflects some of my own views...
Comment
-
Most reviews so far are firmly 3 out of 5, which seems right if one is being half-full rather than half-empty about it.Comment
-
I think the Telegraph review is pretty well spot on - though it's the only one I've read that gives away the twist. The Arts Desk review is considerably more critical . the guardian review slightly more generous. When Pogner muses ' I wonder if Sachs is in' and Sachs has been sitting opposite him in the lodge (?) twenty secs before things get a little confusing. I liked the riot even though the stage was hideously crowded by it . The quintet was well staged but not a patch on. the WNO / ENO RIchard Jones staging with the Prize song right at the focus of the stage picture . The rehearsal was a day for music really - in the words of a fellow audience member - " if I don't like the production I just shut my eyes. "Comment
-
-
You do like to assert, don't you, but without giving any real account of yourself. See last two posts. One would hope for better from fellow users of this site. Can we have some views about the production, beyond generalities, and WHY you thought and reacted to it as you did? It would certainly help others (not least myself) to follow your train of thought rather than receive your wisdom as in tablets of stone (e.g. on Rupert C or anything else). Thank you!Comment
-
Another 3 out of 5, and perceptive - if one is allowed to mention Richard Morrison (his name may also be 'on the list' - i.e. of forbidden critics)
Comment
-
Originally posted by Prommer View Post I should hope not! Here's Erica Jeal - looking forward to Hugh Canning, hopefully in next week's ST.....
PS she's silent on the subject of Holten's "trashing" of Wagner's ending.Last edited by Guest; 13-03-17, 08:52.Comment
-
I think the Times review , though harsher than Christiansen , is pretty acute . Initially I thought the opening was set in an organ loft as well- what a nice idea I thought . It was only when the waiters came on that I twigged what was happening . With the somewhat indeterminate Pre war time setting when the Masters entered complete with Masonic regalia I spent quite a lot time worrying that Act three might end with a Nazi round up of the persecuted masons - along the lines of the Austrian infantry 'going - over-the-top ' at the end of the recent ROH Rosenkavalier - I am not making this up. I guess as the review says you always have the option of either closing your eyes or , like me , indulge in Beckmesser-like self congratulation as you spot the deviations from Wagner's copious and masterful stage directions. Unlike RM in the Times I liked Rachel W-S's Eva - though I saw a different performance . Despite the oddities of the production I'm looking forward to seeing it , eyes-open , again.Comment
Comment