[Met Performance] CID:161250



Die Meistersinger von Nürnberg
Metropolitan Opera House, Mon, December 8, 1952




Die Meistersinger von Nürnberg (266)
Richard Wagner | Richard Wagner
Hans Sachs
Paul Schöffler

Eva
Hilde Zadek

Walther von Stolzing
Hans Hopf

Magdalene
Jean Madeira

David
Richard Holm

Beckmesser
Erich Kunz

Pogner
Josef Greindl

Kothner
Mack Harrell

Vogelgesang
Thomas Hayward

Nachtigall
Algerd Brazis

Ortel
Osie Hawkins

Zorn
Alessio De Paolis

Moser
Gabor Carelli

Eisslinger
Emery Darcy

Foltz
Lorenzo Alvary

Schwarz
Lawrence Davidson

Night Watchman
Clifford Harvuot


Conductor
Fritz Reiner


Director
Dino Yannopoulos

Set Designer
Hans Kautsky

Choreographer
Zachary Solov





Die Meistersinger von Nürnberg received six performances this season.

Review 1:

Review of Olin Downes in The New York Times

PAUL SCHOEFFLER SCORES AS SACHS

Sings the Lead Role in 'Met's" First 'Meistersinger' of Season - Reiner on the Podium

The first "Meistersinger" of the season was given last night by the Metropolitan Opera Association in Broadway's famous theatre of song.

When a famous and familiar masterpiece of opera is given here it generally is the system for reviewers to take out the tape measure and calculate how much better C was than B and how much worse B was than A in the part, and forthwith parcel out the writer's conception of justice the high, the middle and the low to the respective parties involved.

Last night's performance, as concerned the majority of the principal roles, would not rate too highly in comparison with certain other "Meistersingers" seen within near recollection at the Metropolitan. But the collective result, with Fritz Reiner's interpretation of the symphonic comedy by the orchestra, was to overwhelm even the hard-boiled operagoers with the flooding glory of Wagner's music and the youth and wisdom and humanity that permeate libretto and score.

Aided Fellow Artists

The main distinction of the cast was Paul Schoeffler's Sachs, an interpretation worked out with individuality and dramatic significance in each detail, and sung, always artistically, in every measure. And more: one had in this instance the sense of an artist who not only brought everything in his power to his interpretation of one character but who fully grasped the relation of that character to every other figure and element in the music drama. In this way, Mr. Schoeffler aided the artists who appeared by his side on the stage and with whom he had dramatic communication.

Not that this extent of communication raised very much higher the general level of the other principals. It did help the deserving David of Richard Holm and pointed up some of his responses to Sachs; it could not elevate Hilde Zadek's Eva past the level of mediocrity and edgy, sometimes unsteady tones. It could not make of Hans Hopf anything but a highly inadequate Walther in personality and song.

Nor could it give Erich Kunz' Beckmesser any better surface than that of a measure of a slapstick comedy, and some of that none too resourceful, with none of the various side-lights that a distinguished artist can give that character. For Beckmesser is more than a malicious pedant, and more than a buffoon in the comedy.

Ensemble in Good Form

The Pogner of Josef Greindl likewise was without salience. The ensemble of the Meistersinger was on a high level and the singing of the apprentices lively, even if their action was overdone.

It was Mr. Reiner, again, whose conducting gave the transforming touch to the occasion. His were not only the tempi, but also the spirit of comedy in the highest sense of that word. This included, after the gayety, movement and adroit characterization of page upon page, the evocation of Midsummer Night and its magic.

It included, also, the introduction of the third act, which is the symphonic Portrait of Hans Sachs, the realization of all that is noble and grave, tender and wise in the wonderful conception of Wagner. Here Mr. Reiner took a slower, broader tempo than any we remember in recent performances; investing every phrase with nobility and eloquence, and a serenity and loftiness of accent, the more rewarding for the contrast with all that had preceded that moment.

For once we heard that introduction at its full value, and this has not happened in years at the Metropolitan. The theatre was packed with a fortunate audience.



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