Wagner - Die Meistersinger von Nurnberg / Kollo ? Donath ? Adam ? G. Evans ? Schreier ? Hesse? Riderbusch ? Karajan
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CD Details
Brand: AdamEdition: Music CD
Format: Box set, Original recording remastered
CD Release Date: 1999-09-21
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Prelude
- Act One, Scene One: Da Zu Dir Der Heiland Kam
- Act One, Scene One: Verweilt! -Ein Wort!
- Act One, Scene One: Da Bin Ich!
- Act One, Scene Two: David, Was Stehst?
- Act One, Scene Three: Fanget An!
- Act One, Scene Three: Seid Ihr Nun Fertig?
- Act One, Scene Three: Halt! Meister! Nicht So Geeilt!
- Act Two, Scene One: Johannistag! Johannistag!
- Act Two, Scene Two LaB Seh'n, Ob Meister Sachs Zu Haus?
- Prelude
- Act Three, Scene One: Gleich Meister! Hier!
- Act Three, Scene One: Am Jordan Sankt Johannes Stand
- Act Three, Scene One: Wahn! Wahn! Uberall Wahn!
- Act Three, Scene Two GruB Gott, Mein Junker!
- Act Three Scene Four: Die Selige Morgentraum-Deutweise
- Act Three Scene Five: Sankt Crispin, Lobet Ihn!
- Act Three Scene Five: Ihr Tanzt? Was Werden Die Meister Sagen?
- Act Three Scene Five: Silentium! Silentium!
- Act Three Scene Five: Euch Macht Ihr's Leicht
- Act 1, scene 3: "Fanget an!"
- Act 1, scene 3: "Seid Ihr nun fertig?"
- Act 1, scene 3: "Halt! Meister! Nicht so geeilt!"
- Act 2, scene 1: "Johannistag! Johannistag!"
- Act 2, scene 2: "La? seh'n, ob Meister Sachs zu Haus?"
- Act 2, scene 3: "Zeig her! - 's ist gut"
- Act 2, scene 3: "Was duftet doch der Flieder"
- Act 2, scene 4: "Gut'n Abend, Meister!"
- Act 2, scene 4: "Hilf, Gott! Wo bliebst du nur so sp?t?"
- Act 2, scene 5: "Da ist er!"
- Act 2, scene 5: "Geliebter, spare den Zorn!"
- Act 2, scene 5: "?ble Dinge, die ich da merk'"
- Act 2, scene 6: "Jerum! Jerum!"
- Act 2, scene 6: "Das Fenster geht auf"
- Act 2, scene 6: "Den Tag seh' ich erscheinen"
- Act 2, scene 6: "Mit den Schuhen ward ich fertig schier!"
- Act 3: Prelude
- Act 3, scene 1: "Gleich, Meister! Hier!"
- Act 3, scene 1: "Am Jordan Sankt Johannes stand"
- Act 3, scene 1: "Wahn! Wahn! ?berall Wahn!"
- Act 3, scene 2: "Gr?? Gott, mein Junker!"
- Act 3, scene 2: "Mein Freund! In holder Jugendzeit"
- Act 3, scene 2: "Morgendlich leuchtend in rosigem Schein"
- Act 3, scene 3: "Ein Werbelied! Von Sachs? - Ist's wahr?"
- Act 3, scene 3: "Das Gedicht? Hier lie? ich's"
- Act 3, scene 4: "Sieh, Evchen!"
- Act 3, scene 4: "Hat man mit dem Schuhwerk nicht seine Not!"
- Act 3, scene 4: "Ein Kind ward hier geboren"
- Act 3, scene 4: "Die selige Morgentraum-Deutweise"
- Act 3, Scene 5: "Sankt Crispin, lobet ihn!"
- Act 3, Scene 5: "Ihr tanzt? Was werden die Meister sagen?"
- Act 3, Scene 5: "Silentium! Silentium!"
- Act 3, Scene 5: "Euch macht Ihr's leicht, mir macht Ihr's schwer"
- Act 3, Scene 5: "Nun denn, wenn's Meistern und Volk beliebt"
- Act 3, Scene 5: "Das Lied, f?rwahr, ist nicht von mir"
- Act 3, Scene 5: "Morgendlich leuchtend im rosigen Schein"
- Act 3, Scene 5: "Verachtet mir die Miester nicht"
Music reviews of Wagner - Die Meistersinger von Nurnberg / Kollo ? Donath ? Adam ? G. Evans ? Schreier ? Hesse? Riderbusch ? Karajan
Music Review: I liked it
Rating: 4 Stars
I'm admittedly not a big Karajan fan but here, for the most part, he allows the Staatskapelle Dresden to take the lead and who could ever fault such an orchestra so steeped in German tradition in this repertoire? The two baritone leads, Theo Adam as Sachs and Geraint Evans as Beckmesser, are the reason that I can't give this recording five stars. Adam is almost always regarded as this recording's main weakness. His voice lacks the necessary weight for the role and often takes on a dry, wobbly sound but it really could be much, much worse in my opinion. This is certainly a better role for him than other ones he took on (like Wotan) but his overall performance still pales in comparison to those of great Sachses like Paul Sch?ffler, Otto Edelmann, and Ferdinand Frantz. Much more objectionable is Evans's portrayal of Beckmesser as some sort of monstrous lunatic escaped from the mental asylum. His maniacal barking of his lines gets annoying very, very quickly - a completely unacceptable performance.
If you can look the past this couple of flaws, the rest of the cast is impeccable. Helen Donath's Eva is among the absolute best on commercial recordings, right up there with Hilde Gueden and Elisabeth Gr?mmer. Her vibrant, youthful sound and remarkable ease are generally preferable to the matronly Schwarzkopf on Karajan's earlier recording. Rene Kollo doesn't display anything close to the over-the-top, unabashed romanticism of some other Walthers like Sandor Konya or Flaccid-o Domingo but he does possess desirable qualities - a poised, youthful voice and plenty of lyricism, if restrained and unpretentious. Interestingly, I'd never cared for him before based on some of his later recordings but this early in his career and in a role that has ruined so many great Meistersingers (G?nther Treptow, Hans Hopf, and Rudolf Schock are all cases in point) he really surprised me.
Peter Schreier's David is a delight, a bit nasal in tone but very endearing, and Karl Ridderbusch's rich bass is always at its best in benevolent fatherly roles like Pogner. One singer who almost never gets mentioned in reviews of this recording is Ruth Hesse as Magdalene, a bright-voiced mezzo with an absolutely gorgeous tone. Why didn't she make more recordings? She sounds very much like a young Christa Ludwig with more of a sort of airiness to her, well worth a listen.
Description of Wagner - Die Meistersinger von Nurnberg / Kollo ? Donath ? Adam ? G. Evans ? Schreier ? Hesse? Riderbusch ? Karajan
Despite his disdain for some of the sillier aspects of grand opera, H.L. Mencken once said that Die Meistersinger was the greatest single work of art in Western civilization--and, to many, his hyperbole is forgivable when one contemplates the well-crafted structure of this most human of Wagner's music dramas. Of all recordings of his sole comedy, this one under the baton of Karajan in his prime has perhaps the best-balanced cast. The clear, youthful tones of Donath in the role of Eva must be close to Wagner's ideal for the role, while Adam makes a compassionate Sachs--though not quite as resonant as one would wish. Kollo's impetuous style is appropriate to the character of the love-struck Walther. The orchestral playing has the clarity and transparency that is the trademark of the Karajan approach, perhaps most appropriate in this, Wagner's happiest work. --Christian C. RixGeneral CDs
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