Musik / operafilm

Die Meistersinger von Nürnberg


Anmeldelser (33)


Presto classical

d. 27. juli 2018

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Katherine Cooper

d. 27. juli 2018

"Recording of the week: Kosky takes the bold step of putting Wagner himself literally centre-stage: we open in Wagner's home, Wahnfried, with the composer fussing extravagantly over silks and perfumes, his wife Cosima battling a migraine, and his father-in-law Liszt arriving to play through a piano-duet version of the Prelude ... Kosky invites us to warm to Wagner the craftsman at the same time as confronting his flaws as a human being ... The cast is a mixture of Bayreuth veterans and debutants, and both camps cover themselves in glory ... At the heart of it all is Michael Volle's towering interpretation of Sachs/Wagner: he inhabits both personae with tremendous authority ... It's an immensely thought-provoking and ultimately very moving take on this most conflicted of operas".


MusicWeb international

2006 July

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Anne Ozorio

2006 July

"Seeing this on film, I realised why, much as the individual vocal performances are wonderful, the whole is vaguely unsatisfying ... Orchestrally, this is not one of the sharpest performances ... But to miss Preys Beckmesser and Weikls Sachs would be miss out on two critically important interpretations, both of whom add immeasurably to a greater understanding of this opera".


Classical CD review

2010 November

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Gavin Dixon

2010 November

"Préces of the production concept invariably highlight the controversial aspects, which is reasonable as this is a very radical reading ... For those who have issues with Katharina Wagner's conception of the work, the musical side of this performance could well be its redeeming feature. But I would urge even the sceptics to take this production seriously ... A complex and troubling but also consummate and satisfying experience: even on DVD it leaves a lasting impression".


Classical net

2008

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Robert Cummings (musikanmelder)

2008

"This Die Meistersinger is an excellent one and offers further evidence that Daniel Barenboim is a splendid Wagner conductor ... The production, by Wagner's grandson, Wolfgang Wagner, is visually stunning, at least by modern standards. The costumes are colorful and completely appropriate, rounding out what can be described as an excellent traditional staging of Die Meistersinger".


Classical CD review

2010 November

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Gavin Dixon

2010 November

"Préces of the production concept invariably highlight the controversial aspects, which is reasonable as this is a very radical reading ... For those who have issues with Katharina Wagner's conception of the work, the musical side of this performance could well be its redeeming feature. But I would urge even the sceptics to take this production seriously ... A complex and troubling but also consummate and satisfying experience: even on DVD it leaves a lasting impression".


Kristeligt dagblad

d. 20. feb. 2013

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Peter Dürrfeld

d. 20. feb. 2013

"Den skotske instruktør og iscenesætter David McVicar er manden bag dette mirakel. Han har fremrykket handlingen fra midten af 1500-talet til første halvdel af 1800-tallet og gjort det så livagtigt, at man er ved at tabe næse og mund ... Gode anelser har på det tidspunkt allerede meldt sig, så levende og livsbekræftende som Londonfilharmonikerne har fremført ouverturen under ledelse af Vladimir Jurowski ... Det er den bedste Wagner-oplevelse, jeg mindes at have haft. Så fuld af livsglæde, humor, sprudlende musik og dybde, ikke at forglemme, så rig på bedårende detaljer og store linjer".


Politiken

d. 29. dec. 2009

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Thomas Michelsen

d. 29. dec. 2009


Jyllands-posten

d. 4. jan. 2008

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John Christiansen

d. 4. jan. 2008


Jyllands-posten

d. 20. jan. 2010

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John Christiansen

d. 20. jan. 2010

"Han [Thielemann] får dybden og tyngden frem i musikken, men hans klangbillede er moderne let og gennemhørbart, forfinet ned i detaljerne, mens helheden er fortællende endda på flere planer. Wiener Philharmoniker elsker hørbart at spille under ham ... Sangerbesætningen er udmærket uden at være ekstraordinær ... Iscenesættelsen er koloristisk og fri for "moderne" ideer, men heller ikke støvet".


Jyllands-posten

d. 1. dec. 2009

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John Christiansen

d. 1. dec. 2009


Kristeligt dagblad

d. 21. juni 2006

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Bernhard Lewkovitch

d. 21. juni 2006

"Når en operainstruktør bærer navnet Wolfgang Wagner, kan man med sindsro kaste sig ud på de store favne vand, som udgøres af en Wagner-opera ... Det er naturligvis Festspiel- Orchester og Chor, der i stærke sceniske tegninger lægger bund og grund til alt, hvad der ses og høres, og som er underkastet Horst Steins "pisk" af en taktstok".


Jyllands-posten

d. 10. maj 2006

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John Christiansen

d. 10. maj 2006


Diapason

2012 decembre

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Emmanuel Dupuy

2012 decembre


Klassisk

2013, nr. 28

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Steen Chr. Steensen

2013, nr. 28

"McVicar har valgt at placere handlingen i Wagners egne ungdomsår i begyndelsen af 1800-tallet ... et drømmebillede, sådan som McVicar lader en pittoresk Nürnberg befolke af gemytlige borgere, så det næsten bliver en parodi ... Gerald Finley fremstiller Hans Sachs så gribende og nuanceret både i sang og spil, at han på den mest positive måde bliver et scenisk midtpunkt. Fra ham stråler en energi, som smitter de øvrige sangere ... Vladimir Jurowski dirigerer London Philharmonic så der både er detaljer, nuanceret klang, fraseringer og ikke mindst tempi, og den menneskelige fortælling gennemstrømmes af musikalsk nærvær".


BBC music magazine

2012 December

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Michael Scott Rohan

2012 December

"Vurdering: BBC music dvd choice" - "This production ... the finest on video, and one of the best anywhere, a thoughtful character comedy which shows up the emptiness of Bayreuth's recent farragos. David McVicar's staging stokes the glow of Meistersinger's human heart ... Gerald Finley's pivotal Sachs, relishing this intensely verbal role with a Lieder-singer's skille and beauty ... Vladimir Jurowski completes the ensemble with a beautiful account ... Together they make the immense performances the most uplifting I can recall".


BBC music magazine

2024 February

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George Hall (musikanmelder)

2024 February

"To judge from the costumes, this production ... evokes the 1970's. Visually it's a drab affair ... While musically values - some overly mature vocalism aside - are generally good, the show is dully utilitarian, with little sense of the creative conflict between tradition and innovation that lies at the heart of the piece ... Summoning up solid choral singing and orchestral playing".


Klassisk

2024, nr. 73

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Marie-Louise Zervides

2024, nr. 73

"Visuelt er opsætningen ikk sunderligt indbydende eller atmosfærisk ... Johan Reuter er perfekt som Hans Sachs, og han formår i den grad at udvikle en ægte karakter af musikhistoriens største operarolle både stemmemæssigt som dramatisk. Desværre er tenoren Klaus Florian Vogt helt fejlkastet som den virtuose Walther ... Den ambivalente Eva synges af en sensuel Heidi Stober med en flot og klare sopranstemme ... Berlinerorkestret spiller storslået under dirigent John Fiore".


BBC music magazine

2010 January

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Michael Tanner (musikanmelder)

2010 January

"Vurdering: BBC music choice" - "This is perhaps the finest recording, either on DVD or CD, of Wagner's complex masterpiece, of which it seems any production is inevitably flawed. What is remarkable about this one is that the conducting of Christian Thielemann is so idiomatic and penetrating".


Diapason

2018 décembre

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Emmanuel Dupuy

2018 décembre


Diapason

2014 octobre

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Emmanuel Dupuy

2014 octobre


Operabladet Ascolta

(2006) 25. årgang nr. 1

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Henrik Marcussen

(2006) 25. årgang nr. 1

"Det er en opførelse, hvor det naturalistiske er i højsædet med smukke, næsten atentiske in- og eksteriører ... På sangersiden er vi godt betjente. Gode stemmer og ikke mindst gode personportrætter. Bedst i dette selskab er Preys glimrende fremstilling af Beckmesser ... Som kronen på værket ... alt, hvad Bayreuth-scenen formår af kor, statister, orkesterpragt og gennemarbejdet mestersang".


The gramophone

2012 December

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Mike Ashman

2012 December

"Jurowski handles the score with seriousness and pomp ... Finley has the role of Hans Sachs massively in focus, both musically and dramatically. He is compulsively watchable throughout ... McVicar's production is best at one-to-one emotional confrontations but rather loud and messy in ensemble scenes ... It would be mealy-mouthed not to notice the commitment and enthusiasm steaming off the stage, while Finley's work has to be seen and heard".


International record review

2012 November

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Peter J. Rabinowitz

2012 November

"In certain ways, this is an old-fashioned staging. Yes, McVicar moves the setting from the Renaissance to the early nineteeth century ... In spots be forgiven for thinking you've falling into a new film adaption if a Jane Austen novel ... The star of the show, unsurprisingly, is Finley, a youngish, inquisitive, witty, often impish and extremely attractive Sachs ... in glorious voice ... It's a superbly effective reading ... Rarely have I seen an opera video that so effectively created the illusion that the camera was moving just as I would move my eyes were I in the theatre. All in all, a life-affirming triumph".


The gramophone

2023 December

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Hugo Shirley

2023 December

"Throughout, the musical values of the performance prove high, with Fiore showing an excellent grasp of the work's long paragraphs, pacing the score beautifully and proving alert - but never slave - to its bustling detail. The Deutsche Oper fields a fine ensemble cast, too. Johan Reuter might be a relatively light-voiced Sachs but sings the role persuasively".


The gramophone

2010 January

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Mike Ashman

2010 January

"A DVD that would have made more sense on CD, performances aside ... the musical side of the issue ... has exceptional moments".


Fono Forum

2018 September

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Manuel Brug

2018 September

"Er [Kosky] verändert den Schauplatz, die Identität der Figuren und die Bedeutung dieser ach so deutschen Komödie ... Wir sind im Hause Wahnfried. Richard, Cosima, Franz Liszt, Hermann Levi - alle da. Das biografische Spiel mutiert schnell zum Surrealen ... Der junge Wagner entpuppt sich als tenortrompetender Klaus Florian Vogt ... Und der dritte Wagner ist der souveräne Michael Volle als Hans Sachs ... Da ist brillante Personenregie zu sehen ... Die folgenden Akte spielen im Saal der Nürnberger Prozesse. Beflissen wirkt das, obwohl es musikalisch weiterhin zauberhaft bleibt".


The gramophone

2018 October

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Mike Ashman

2018 October

"In Barrie Kosky's spirited but uneven 2017 staging of Wagner's comedy there are splurges of ideas ... The performances of the cast are of a high standard dramatically and mostly musically. Volle now paces himself well and Lehmkuhl is a magical and unclichéd Magdalene".


International record review

2014 October

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Robert Levine (musikanmelder)

2014 October

"Mediocre Walther and Eva aside, this entire production is worth seeing and arguing about".


Klassisk

2014, nr. 34

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Per Rask Madsen

2014, nr. 34

"Enhver operaproduktion med iscenesættelse af norske Stefan Herheim tilkalder sig opmærksomhed. Her ... skildrer han Wagners Mestersangerne som et eventyr, der tager udspring fra hovedpersonen Hans Sachs rodede skrivebord og undervejs bringer ny figurer som Snehvide og de syv små dværge og andre fra eventyrenes verden ind i billedet".


The gramophone

2014 October

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Mike Ashman

2014 October

"Gatti seeks to match Herheim's production with initially chamber-like sonorities ... But he ends up with a much less coherent (and not so well-played) image of the opera than Toscanini and Thielemann".


Fono Forum

2014 August

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Manuel Brug

2014 August

"Leider lieferte Stefan Herheim als Regisseur eigentlich eine gewitzte, detailverliebte und trotzdem viel schaulust machende Spielernatur, lärmende Langweile auf der ganzen Linie! ... ... Dazu stand eine Besetzung auf der Breitwand, die nur bedingt festspielwürdig zu nennen ist".