There have been swaths of empty seats on the Metropolitan Opera on Tuesday night, when Wagner’s sprawling comedy “Die Meistersinger von Nürnberg” returned to the home after seven years.
Was it the boundaries on overseas vacationers, lifting soon? Persistent fears in regards to the Delta variant, regardless of a vaccinated and masked viewers? Extra everlasting modifications to viewership habits, egged on by the pandemic? Wariness a couple of efficiency of very Wagnerian, six-hour size?
It’s probably the entire above, and extra; arts establishments across the nation are grumbling about gentle ticket gross sales as they reopen. However regardless of the causes on the Met, it’s a disgrace: This “Meistersinger” is great, a paean to a neighborhood joyfully bickering and making music collectively that touched me deeply on this interval of reckoning with all we lacked for a yr and a half.
A love story intertwined with a music contest, set in a storybook imaginative and prescient of medieval Germany, it brings again to the corporate after 24 years the eminent conductor Antonio Pappano. He takes on one of many scores most intently related on the Met with James Levine; the final time somebody apart from Levine led a run of this opera there was 1985.
With Levine in “Meistersinger,” there was grandeur, richness, not heaviness however glowing weight. Pappano, the longtime music director of the Royal Opera Home in London, provides a lighter, lither studying, not rushed however evenly flowing, ethereal even when agitated. From the prelude to the primary act — extra lyrical than majestic — this was tender, mellow Wagner, most notable in quieter moments: the nice and cozy curlicues of the orchestral reactions to the music guidelines within the first act, the glistening music of dusk within the second, the hushed prelude to the third.
Because the cobbler Hans Sachs, the chief of Nuremberg’s guild of tradesmen who moonlight as singing poet “masters,” the baritone Michael Volle is fiercely articulate. He isn’t the kindly Santa Claus determine usually related to this function, however quite a changeable, ambivalent, even peevish, very human Sachs.
Klaus Florian Vogt — the tenor taking part in Walther, the knight who bursts onto the Nuremberg scene with an modern method to songwriting and a crush on the younger Eva Pogner — stays one of many oddest main artists in opera. His attraction has been his uncannily pure voice, which, rising from classically good-looking blond seems, provides him an otherworldly high quality in otherworldly roles like Wagner’s Lohengrin.
However that voice has in recent times been turning extra nasal and glassy. Whereas some excessive notes, notably towards the opera’s finish, sail out like sunshine, and whereas he’s an effortlessly noble presence, Vogt’s sound is ever extra an acquired style.
There are not any equal quibbles about this revival’s playful, assertive Eva: the soprano Lise Davidsen, whose voice is luminous when gentle and startlingly large at full cry. Her hovering embrace of Sachs and stylish begin to the quintet that follows within the third act aroused solely pleasure in regards to the exceptional Met season she is embarking on, with the title function of Strauss’s “Ariadne auf Naxos” and Chrysothemis in his “Elektra” to come back.
The baritone Johannes Martin Kränzle was comically bumbling however sang with easy earnestness as Beckmesser, the officious city clerk competing (a minimum of in his personal thoughts) for Eva’s hand in marriage. The resonant bass Georg Zeppenfeld, one among Europe’s best Wagnerians however an unaccountable absence from the Met over the previous decade, was splendidly genial as Veit Pogner, Eva’s father. The tenor Paul Appleby was full of life as Sachs’s apprentice, David; the mezzo-soprano Claudia Mahnke made a characterful Met debut as Magdalene, Eva’s attendant; and the bass-baritone Alexander Tsymbalyuk sang with calm comfort because the Night time Watchman.
It’s to Volle’s credit score that he doesn’t stint the darkness that all of the sudden engulfs the piece in its closing minutes, when Sachs, making an attempt to influence the victorious Walther to affix the masters, grimly warns of overseas encroachments on the nation and its “holy German artwork.” It’s a name taken up with rally-style fervor by the gang, and it’s arduous to not hear in it premonitions of what was to come back in Nuremberg 4 a long time after Wagner’s demise.
The Met’s totally literal, quaint staging by Otto Schenk and Günther Schneider-Siemssen, now practically 30 years previous, provides no touch upon this notoriously specific swerve towards chauvinism — nor on the sense many have had that Beckmesser represents Wagner’s antisemitic obsessions, nor on a lot of anything past the letter of the libretto.
However Volle, a minimum of, forces us to reckon with a scene as discomfiting as any in opera — a vivid depiction of the convenience with which communal celebration can tip into nationalism, a reminder that even good guys can harbor terrible leanings. Sachs’s monologue isn’t a motive to not carry out “Die Meistersinger.” It felt on Tuesday, greater than ever, a motive it ought to be seen.
Die Meistersinger von Nürnberg
Via Nov. 14 on the Metropolitan Opera, Manhattan; metopera.org.