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14 of 15 people found the following review helpful:
4.0 out of 5 stars
'Meistersinger' in English: Good News, Bad News -- Mostly Good, 3 Aug 2008
This is a much-talked-about live recording, long thought lost, of a BBC broadcast in 1968 of an English-language production of Wagner's 'Die Meistersinger' from the Sadler's Wells Opera (now called the English National Opera). It was conducted by Reginald Goodall who was all but unknown then but who soon became known and much lauded for his conducting of Wagner's operas. It has an all-English cast, all but one of whom were singing their roles for the first time; the exception was Norman Bailey, who had sung Hans Sachs in Germany (in German, of course).
First, the bad news: Sound quality is not the best. There is some tape hiss, occasional poor balances, a good deal of stage noise (my goodness, you can really hear a lot of clumping around in the last act entrance of the apprentices!), and somewhat dodgy stereo separation. Early on Norman Bailey's voice is rather woolly, although it improves and his vocal acting is marvelous. Margaret Curphey's Eva can turn acidulous, but she is terrific in the last act Quintet. There are some cuts -- primarily a verse from David's first act catalog of tones and from Beckmesser's second act song. The orchestral playing is not always as suave as one might hope. And, of course, there will be those who will be put off by this quintessentially German opera being sung in English. And indeed the translation, by Frederick Jameson (with some changes by Norman Feasey and Gordon Kember) has a few thee's and thou's that make it sound a bit old-fashioned. Still it is an effective translation and it sings well.
Any negatives are outweighed by the good things in the recording. Bailey's Sachs is effective -- and he has the best diction of anyone in the cast; he is human, affecting, suitably humorous, gruff, tender or serious as needed. The David of Gregory Dempsey is one the best I've ever heard. Derek Hammond-Stroud plays Beckmesser as a bit of a caricature, but he sings the music rather than sketching it as many Beckmessers do. Alberto Remedios is one of the best Walthers on record. His tone is meltingly lyrical and he is actually able to sing softly when required, unlike some. He is ardent, heroic, and naïve in turn. His Prize Song is magical, aided significantly by Goodall's rapturously paced conducting. Noel Mangin's Pogner is excellent in his long aria. The rest of the mastersingers are at least adequate or, as in the case of David Bowman as Kothner, much better. Ann Robson is a younger-sounding Magdalene and she sings well. Stafford Dean, then quite young, is a marvelous Nightwatchman. The chorus is sterling from their very first notes at the end of the overture to the paean to Sachs that closes the opera.
The real hero of this performance is Goodall. This is a leisurely-paced 'Mastersingers' but there is never a lull or longueur. Rhythms are well-sprung and the quieter or more lyrical moments are breathtaking, as in the Act III prelude and the last act Quintet. He can build up real excitement, too, as in the overture and the third act entrance of the apprentices and mastersingers, not to speak of the riot that ends Act II.
The boxed 4CD set is being offered for the price of 3CDs and it includes a complete libretto. This will probably not be anyone's only 'Meistersinger', but it certainly belongs on the shelves of those who love this opera and have other recordings of it.
Scott Morrison
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2 of 2 people found the following review helpful:
2.0 out of 5 stars
Very Disappointed, 8 Nov 2009
What a shame. I was really looking forward to listening to this CD. However, when I played it and played it again I realised actually it might as well have been in the original libretto language (German) since this old recording, even with the remastering, is too muffled to be able to hear the words properly. So I will stick to the best of the other (in German) Mastersingers recordings until a newer English language version is recorded and released (I hope they do do it, perhaps with John Tomlinson in the cast).
Second disappointment is that despite the apparent bells and whistles "remastering" techniques, the 1968 recording does sound like it's in mono (it probably is but not mentioned anywhere on the packaging...) and it sounds so ancient and boxy that it reminded me of the soundtrack of old Laurel and Hardy movies with the very thin sound, especially higher pitched instruments like the oboes, and very boxy for the lower instruments such as double basses and trombones.
If I could ignore all these faults, the conducting does seem excellent because the music flows and develops in an apparently effortless manner.
Perhaps I am being harsh with the 2 stars, but I can only go by my personal disappointment and even though I know it is an older recording, I have heard Solti's set of the Ring Cycle, some of the earlier parts having been recorded possibly earlier than the Goodall Mastersingers, but sound so clear and impressive that they have set the benchmark for remastered historic opera recordings and the Mastersingers set does not match up to Solti's set in terms of presence and sound quality.
[As an aside: I recently also bought the Goodall's reading of Wagner's Ring Cycle (sung in English) on a quick track selection play-through it sounds more promising than the Mastersingers and I will review that when I have listened to it all the way through a at least twice. It might take some time!]
One final word - I mentioned Tomlinson earlier in this review, because I have got the Flying Dutchman recording (also on Chandos) sung in English and also the Boris Godunov (in English) and he and the rest of the cast of these newer recordings have such clear diction that even in the loudest orchestral accompaniment passages, that you can pretty much hear every word they sing and follow the drama as it unfolds. These are newer recordings but they do show what can be achieved with Opera in English series and demonstrate the enhancement of understanding and enjoyment of the works which you can't quite get with the original language recordings, unless you sit with libretto translation all the time if you don't speak the original language, or watch them on DVD with subtitles of course.
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2 of 2 people found the following review helpful:
3.0 out of 5 stars
Disappointing, 14 Sep 2009
I was disappointed in this - and I was actually there in the theatre when it took place. The singing is fine and the orchestra are good. The conducting is slow but also good. Sadly the whole thing was wrecked for me by the lousy recording which amplifies the stage noise so much that the finale is almost unbearable: phoney upper-class English cheering and a herd of elephants on stage. Surely the engineers could have done a bit more tidying up of the sound in this digital age? Having the words audible in English is a mixed blessing. But worth getting as a historical document I suppose.
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