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Wagner Society in NSW Inc
Julie Clark I approached this reputedly contentious production with an open mind. These are a few impressions I came away with: Eva and Magdalene – Act 1 opened with them cast as red haired identical schoolgirls with none of the poise one expects. Eva then becomes what can only be described as a fat frau. Both were chosen for their shape (short and rotund) rather than their voices, particularly Eva who was very weak. Magdalene's role seemed to slip into obscurity; I don't recall any interaction between she and David at all. Walther – a petulant, destructive young man prancing around an art studio, pulling keys off a piano and throwing paint over everyone. Certainly the last person one would want for one's treasured daughter. By Act 3 he had “matured” into rather a more “dishy” prospect, and Klaus certainly looks the part and when you could get away from his ridiculous high jinks he produced the most beautiful sound. Hans Sachs – smoked incessantly in Act 1, no wonder he couldn't reach the notes by the 3 rd Act. He was certainly not cast as the loveable, wise confidant. Beckmesser – cast as a jolly, likeable, aggrieved suitor in Act 1. He sang well during the entire performance, which was heroic of him when one considers the ridiculous antics he was required to get up to in the last scene. How can any opera singer be expected to concentrate on the “job” with a nude man grabbing at a naked female dummy? Then Beckmesser, himself, pulling a snake-like penis from his trousers and cavorting around the stage leering at bare breasted women…and worse!! There was so much going on, on stage, the other mastersingers really paled into obscurity. The touch I did find mildly amusing was the “family portrait” – a flash into Beckmesser's wished for future with Eva. Mum, Dad, 2 boys and 1 girl. The 2 nd son's face changed from the photo smile into a grimace, eventually clutching his lower abdomen. I was watching through my opera glasses and was completely “sucked in” by the great performance of this young man who eventually ran from the stage on the pretext of relieving himself. A clever piece of theatre, however it bore no relevance to the Mastersingers at all! The final scene I liked. The chorus sat on 10 vertical rows of benches, which rose up from beneath the stage high into the rafters, dressed in casual clothes for Beckmesser's song then threw them off to show evening dress underneath for Walther's song. Their sound was breathtaking as was the orchestra's throughout the entire performance. An irreverent production, over the top, slapstick comedy that will be remembered for its absurdity rather than amusement, more suited to vaudeville. One finds it hard to relate the sublime music of this opera to such a puerile production. Of Katharina Wagner…. she certainly has an amazing imagination but one wonders if that is enough to inherit the Empire.
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