© Glyndebourne Festival Tristram Kenton
Over 80 years of existence, a wonderful setting in the hills of South England and high quality performances have made Glyndebourne a high reputable festival. Everybody who has ever been there will never forget the remote familiar atmosphere with sheep on the fields nearby the picnic on the impeccable lawns, and this relaxed relation of nature and art. A perfect location and attitude for experiencing an opera, especially the monumental piece of Meistersinger by Richard Wagner.
It is the first production of this opera here, which was premiered in 2011. David Mc Vicar has taken over the direction. His interpretation stays traditional with most beautiful medieval stage design by Vicki Mortimer and most tasteful costumes. A bright monumental gothic vault dominates the stage throughout the evening and centers and concentrates the story of the evening. Mass scenes do get so an impressive density and agitation, small individual scenes create an intimate directness. It is entertaining and easy to follow, Mc Vicars design and direction of the characters is very clear and expressive. Lots of small gestures and intelligent little scenes make it a vivid story telling.
Less lively and detailed is the musical interpretation by Michael Guettler, the young German conductor who took over from Robin Ticciati who had to withdraw due to illness. The London Philharmonic Orchestra as orchestra in residence is following carefully his baton with some uncertainties in the winds.
On the stage we encounter some world renown singers who have started their career as chorist at this festival. Gerald Finley is one of them and gives a splendid emotional and technically perfect interpretation of Hans Sachs, a demanding task which he fulfilled with a strong German pronunciation. Alastair Miles returns as Veit Pogner, with high presence on stage, but his voice sometimes shows the limits of age. Michael Schade, half German half Canadian, appears as Walther von Stolzing and his interpretation is rather poor in language and singing. His voice has lost lyrics and brightness over the years. Amanda Majeski is dramatic soprano but remains gentle and elegant as Eva, a well educated young emotional daughter. Most of affection is put by the audience to Jochen Kupfer in his remarkable presentation of Sixtus Beckmesser, the strange outsider and strong defender of tradition and weird competitor of Walther von Stolzing for the hand of Eva. Worth noticing David Portillo as the apprentice David. His voice is warm, bright and has a young sound.
There is high concentration by the audience untill the last moment, the Realisation of Johannisnacht being a most entertaining and colourful spectacle, with different street artists bringing the mass scene into life and it could go on for longer, as the final applause starts just after a long pause of admiration.
Helmut Pitsch
the 13 of June, 2016 | Print
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