Review by George Dixon
Melbourne Opera’s presentation of Richard Wagner’s Die Meistersinger von Nürnberg at The Royal Exhibition Building is an experience that thoroughly delights all of the senses.
The Royal Exhibition Building, Melbourne’s only UNESCO World Heritage Listed site, has a rich musical history, designed by architect Joseph Reed and built by Dame Nellie Melba’s father, David Mitchell, in 1880. Over its 145 years, this building has become the home of many major cultural events, exhibitions and operas. In 1985 Victorian’s 150th Gala Choral Concert conducted by Richard Divall featuring a 1,006-voice choir performed a rendition of Tchaikovsky’s 1812 Overture.
Honouring Richard Wagner’s Die Meistersinger von Nürnberg (1868) in a landmark building constructed in 1880 is a fitting acknowledgment.
To further enhance the experience, Melbourne Opera has placed the staging under The Dome, which was modelled on Brunelleschi’s Dome, that sits above the 15th-century Cathedral of Santa Maria de Fiore in Florence.
Besides the fantastic acoustics, Melbourne Opera takes advantage of the exquisite artwork and murals within the dome. Additionally, there’s a perfect transition between the natural daylight, the setting sun and nighttime, which lifts the staging and costumes, particularly during the third act.
Melbourne Opera’s Die Meistersinger von Nürnberg is an All-Australian Cast of Music Masters.
Supported by the Melbourne Opera Orchestra under the conductorship of world-renowned Wagnerian conductor Anthony Negus, a Master in his own right.
The incomparable Suzanne Chaundy Directs this production with flair, purpose and intent.
Nothing has been left to chance.
The marriage of the Opera’s feel and the historical settings have not been overlooked.
Chaundy’s collaboration with Costume Designer Karne Larche has presented a refreshing set of attire that conveys the German Renaissance style of humble village folk, supporting their various community standings and occupations. Sunny tones and simple outlines reflect the midsummer season. These elements enhance the light-heartedness and comic expressions of Wagner’s Die Meistersinger von Nürnberg.
The Set Design by Andrew Bailey is based on an open-plan, two-story solid wooden structure and full-size scenery panels with an open backdrop that allows the characters to enter and leave from the rear. The colouring and tones of the set blend nicely against the existing interior of the Exhibition Centre. The set transitions from a meeting room inside St. Katharine’s church, a courtyard, a cobbler’s workshop and finally, the third act town square, all executed efficiently around a solid construction.
Hats off to the casting team; the all-Australian ensemble is not only world-class, but they are also well-balanced physically, vocally and levels of talent.
Everyone enjoyed themselves as the opera continued like a well-oiled Swiss watch, the cast and orchestra in perfect harmony.
One of the highlights of Act One is the division within the music masters’ guild as to the acceptance of not, of the dashing Knight Walther Von Stolzing – James Egglestone. The interlinking and synergy between the two sides, along with their passion and dynamics, is a masterclass of direction and musical timing.
Warwick Fyfe portrays the complexity of Hans Sachs the Cobbler; His rich baritone voice gives both balance with gentleness and authority with firm control. That highlights the differences when engaging with Eva, Pogner’s daughter – Lee Abrahmsen, and David, Sachs’s apprentice – Robert Mcfarlane.
Three outstanding characters come to mind;
Magdalena – Eva’s companion/confidant, Deborah Humble, whose stage presence, stances and facial expressions portray an outstanding support person to Eva.
David, Sachs’s apprentice – Robert Mcfarlane. Whose performance as the over-enthusiastic would be a suitor for the hand of Eva. Is part of the comic element of this story: his boyish behaviour and enthusiasm to always please often tends to place him in hot water, with one person or another. Mcfarlane manages to pull this off with cheekiness and charm that is somewhat disarming.
Beckmesser – Town Clerk Christopher Hillier, who considers himself to be the only musical champion to win the contest and, marry Eva, who is the main prize.
Hilliers rich and flexible baritone voice is highlighted in terms of meeting all the technical aspects required. Hillier’s timing and physicality emphasise the comedic situations brought about by the situations he finds himself in.
The twist in the third act is perfectly executed; the English translation makes the lyrics even more absurd, which is not lost on the audience.
Richard Wagner’s Die Meistersinger von Nürnberg is written and sung in German, with English subtitles. Furthermore, the German used is “Old German”, comparable to William Shakespeare’s old English.
One can imagine the subtle differences between Old German similar sounding or written letters that form completely non-relating words.
Thus, the whole thing is unintelligible to the untrained eye.
This four-and-a-half-hour production with two intervals moves at an entertaining pace, which seems to be over quicker than expected.
The audience’s final applause is a resounding appreciation for this outstanding masterpiece and a reflection of their love of The Music Masters and the very high standard of Melbourne Opera’s Cast and Orchestra.
