WAGNER Die Meistersinger von Nürnberg
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Wagner
Genre:
Opera
Label: Profil
Magazine Review Date: 06/2016
Media Format: CD or Download
Media Runtime: 261
Mastering:
DDD
Catalogue Number: PH13006
Tracks:
Composition | Artist Credit |
---|---|
(Die) Meistersinger von Nürnberg, '(The) Masters |
Richard Wagner, Composer
Bernd Aldenhoff, Tenor Dresden State Opera Chorus Emilie Walter-Sacks, Soprano Erich Händel, Bass Ferdinand Frantz, Bass-baritone Gerhard Stolze, Tenor Gerhard Unger, Tenor Heinrich Pflanzl, Bass Heinrich Tessmer, Tenor Johannes Kemter, Tenor Karl Paul, Baritone Karl-Heinz Thomann, Bass Kurt Böhme, Bass Kurt Legner, Bass Richard Wagner, Composer Rudolf Kempe, Composer Staatskapelle Dresden Theo Adam, Bass-baritone Tiana Lemnitz, Soprano Werner Faulhaber, Bass |
Author: Mike Ashman
His orchestral shaping of Wagner is generally lyrical and on the lighter side but there’s no shortage of pomp or grandeur where required (try the Overture or the ‘public’ music of Act 3). An expert at pacing, Kempe maintains a tight dramatic line through the contrasting scenes of Act 3, allowing the ‘riot’ after Beckmesser’s serenading to appear a natural, musical climax to Act 2. He encompasses equally Sachs’s most human moment of anger and sadness at ‘losing’ Eva to Walther as he does the timing and humour of the gulling of Beckmesser in Act 2.
In the cast, note the early appearance of later stars such as Gerhard Stolze and Theo Adam among the masters. The feel of a genuine played-in ensemble is strong. Although Ferdinand Frantz – along with Tiana Lemnitz – was a guest specially introduced for the recording, he feels and sounds, with accommodating support from the conductor, mostly comfortable fitting his serious bass Sachs into this context. Lemnitz is thoroughly professional and knows all the corners of Eva’s role but does sound her age here. Bernd Aldenhoff is a lively, mostly supple Walther who pushes a little too hard in the actual Prize Song performance. Heinrich Pflanzl’s Beckmesser is totally at one with Kempe (and the chorus) in never overdoing anything.
Despite its age, this remains a most loveable set (and is here heard at its best yet). Thanks to Kempe’s natural conducting and the feel of the Dresden ensemble it feels like a live performance (and was probably recorded as quickly as one). In that respect it is even superior to the studio assembly of Kempe’s later Berlin recording (EMI, 2/58, 2/93), even if it does not quite equal the special midsummer glow of Toscanini’s or Thielemann’s evocation of Act 2.
Explore the world’s largest classical music catalogue on Apple Music Classical.
Included with an Apple Music subscription. Download now.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £9.20 / month
SubscribeGramophone Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £11.45 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.