Organization

Śpiewak

Bas - baryton

Michael Volle

Hans Sachs

Tenor

Roberto Saccà

Walther von Stolzing

Sopran

Juliane Banse

Matti Salminen

Veit Pogner

Mezzosopran

Wiebke Lehmkuhl

Magdalena

Baryton

Martin Gantner

Sixtus Beckmesser

Peter Sonn

David

Krešimir Stražanac

Konrad Nachtigall

Martin Zysset

Kunz Vogelgesang

Cheyne Davidson

Fritz Kothner

Peter Straka

Balthasar Zorn

Andreas Winkler

Ulrich Eißlinger

Boguslaw Bidzinski

Augustin Moser

Giuseppe Scorsin

Hermann Ortel

Pavel Daniluk

Hans Schwarz

Reinhard Mayr

Hans Foltz

Andreas Hörl

Ein Nachtwächter

Chór

Bettina Schneebeli

Lehrbuben

Dyrygent

Daniele Gatti

Reżyseria

Harry Kupfer

Scenografia

Hans Schavernoch

Kostiumy

Yan Tax

Reżyseria światła

Jürgen Hoffmann

Przygotowanie chóru

Ernst Raffelsberger

Opernhaus Zürich

niemiecki

Die Meistersinger von Nürnberg

Zurych

Szwajcaria

Opernhaus

angielski

Approved

A cultural commitment by Credit-Suisse -------------------------------------------------- ------------------------------ Conductor - Daniele Gatti Staging - Harry Kupfer Assistant director - Derek Gimpel Stage design - Hans Schavernoch Costumes - Yan Tax Choir master - Ernst Raffelsberger Choreography - Derek Gimpel Orchestra - Orchestra of the Zurich Opera With Juliane Banse (Eva), Wiebke Lehmkuhl (Magdalene); Michael Volle (Hans Sachs), Roberto Saccà (Walther von Stolzing), Matti Salminen (Veit Pogner), Martin Gantner (Sixtus Beckmesser), Peter Sonn (David), Kresimir Strazanac (Konrad Nachtigal), Martin Zysset (Kunz Vogelsang), Cheyne Davidson (Fritz Kothner), Peter Straka (Balthasar Zorn), Andreas Winkler (Ulrich Eisslinger), Boguslaw Bidzinski (Augustin Moser), Giuseppe Scorsin (Hermann Ortel), Pavel Daniluk (Hans Schwarz), Reinhard Mayr (Hans Foltz), Andreas Hörl (Night watchman) As early as 1845, Richard Wagner was concerned with the "Meistersinger" material, which he considered suitable for a kind of "satyr play" for his "Tannhauser": The knights' war of singers at the Wartburg is contrasted with the award singing of the masters on the festival grounds in Nuremberg is won by Walther von Stolzing. However, this impetuous innovator must first be instructed by Hans Sachs to tame his inspiration by examining the form, namely the strict rules of the Mastersingers. Sachs also prevents Stolzing from kidnapping Eva, the daughter of goldsmith Pogner. Instead, he wins his beloved in the singing competition, because Pogner has exposed his daughter's hand at the price of victory. The pedantic town clerk Beckmesser is left behind. Amid the mockery of the crowd, he fails to interpret the manuscript of Stolzing's price song that Sachs had slipped on him. Wagner's original intention to process this story in the form of a "comic opera" had to fall by the wayside in view of the ambiguity of the subject. In terms of its dimensions, the work goes beyond the scope of a musical comedy. Rather, the "Mastersingers" reflect Wagner's efforts to revolutionize music and theater in a relational manner. Musically, behind the apparent simplicity evoked by medieval Nuremberg, the masterful condensation of the means of expression that the composer had inherited through "Tristan" shimmers through. After his much-discussed “Tannhäuser” at the Zurich Opera House, Harry Kupfer is now turning to the “German opera” of the 19th century par excellence. Chief conductor Daniele Gatti will take over the musical direction, who will also be present in Zurich this season with “Parsifal” as a Wagner interpreter.

THE MASTERSINGERS FROM NUREMBERG - WAGNER

Die Meistersinger von Nürnberg by Wagner, Richard, od (2012/2012), W reżyserii Harry Kupfer,, Dyrygent Daniele Gatti, Opernhaus, Zurych, Szwajcaria

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