An Introduction to Wagner's Die Meistersinger von Nürnberg

To accompany the first ever Glyndebourne production of Wagner's Die Meistersinger von Nürnberg (the long held dream of the founder John Christie) Professor Julian Johnson of London Holloway University gives us some studied insights into the work.
Extracts of Die Meistersinger von Nürnberg by kind permission of EMI classics - CD available from the Glyndebourne shop: www.glyndebour...

[@jasminenassar932]

I think it’s incredible that Wagner quoted from Tristan and Isolde in another of his operas. Don’t know of that being done by any master.

[@marykunzgoldman]

In "Don Giovanni," Mozart quotes from "The Marriage of Figaro." I've always loved that. I love what Wagner does, too. What a beautiful opera this is -- and I liked this talk about it.

[@salusindomino]

Well done

[@JohannSebastianFu]

Meistersinger is James Morris's favorite Wagner opera.

[@ajmoran30]

Amazing that the musical excerpts credit the conductor, the orchestra, and the recording label. Everyone but the damn singers!

[@yusukeundisolde]

Hallo, Wie lange Zeit braucht der Korrepetitor für gewöhnlich, um eine Oper vor allem eine schwierige z.B. Elektra vorzubereiten? Ich hoffe, dass Sie mein Deutsch verstehen würden. Liebe Grüße aus Japan Yusuke Takai

[@musik350]

Hallo, leider handelt es sich um eine englische Produktion, also sollten Sie auf Englisch fragen.

[@dieDAUERLUTSCHER1]

What I can tell you from my experience is that from the start of production (gathering ideas etc.) until the first performance it can take up to 4 years.

[@tchaik5]

can someone please let me know where the prize song recording is from

[@James_Bowie]

If you are referring to the excepts, I gather that they are all from the 1971 Von Karajan EMI recording mentioned at 8:05 (CD version CMS5 67086 2)

[@PS-pp7kn]

You have much to say about the music, but I am not entirely sure, if you have understood the deeply tragic nature of the opera itself. It is not a comical opera, even if it has scenes, that may have been meant to be comical, yet turn out rather brutal (and therefor more realistic). Hans Sachs is a brute, as shown in the shoemaker scene with Beckmesser, not a very sympathic person, and yet we can understand him. The nearest match in operas might be the Feldmarschallin from Rosenkavalier. Sachs takes a farewell from love and therefor in some way from life, yet must smile upon this. Persons and motives are deeply interwoven in a dialectic way. I had to write too long to cover all of this. But one thing is sure: It is the opposite of what it seems on the surface. So it is NOT a comical folk opera. Much more it is a reflexion about art and folk.

[@rudyd8403]

Hans Sachs a "brute"? Uh-uh. He just takes sides with Walther against Beckmesser. On the other hand, Beckmesser IS a brute, trying to sabotage Walther's chances. And of course a dirty old man, drooling over Eva. But I agree the opera has a serious basis and it's the autobiographical element: Beckmesser and the other mastersingers represent the reactionary music (in Wagner's time) of Schumann, Mendelssohn et al. Especially the virulent Wagner critic Edouard Hanslick. Wagner nearly named Beckmesser "Hanslich" but fortunately was talked out of it. Wagner was the musical revolutionary of his day. He was also the greatest composer of the 19th century. Gustav Mahler once said of all composers there are only two great ones : Beethoven and Richard". Which BTW is why both the U.S. and England commissioned him to write the bicentennial and the "rule brittania overtures.

[@bradmehldau4436]

Beckmesser is a brute indeed, but then one may ask if he is an anti-Semitic trope, as Adorno was the first to conjecture.

[@ingridcortes5436]

very informative, concise and useful! thank you!

[@ragadolls]

Wonderful analysis, thank you.

[@josebenito15]

Some years ago I was lucky enough to be at Covent Garden Opera House listening this Opera for the first time and feeling myself blown away for its monumentality. Endeed it is a very unique Masterpiece by Wagner. Thanks so much for your Musical Exploration

[@rene-pierresamary4874]

Mon opéra de Wagner préféré, avec Parsifal. Les évolutions successives du chant de Walter sont un régal.

[@mjsflute]

Je suis totalement d'accord avec vous ! 😊

[@robertovelasco9993]

I agrre completely. Great introduction.

[@musik350]

8:38 That's not quite right, it actually is e a d g' b' e'', so one octave higher than today's guitar tuning.