Admin

Organization

Chanteur

Baryton-basse

Michael Volle

Hans Sachs

Ténor

Roberto Saccà

Walther von Stolzing

Soprano

Anna Gabler

Éva

Baryton

Markus Werba

Sixtus Beckmesser

Basse

Georg Zeppenfeld

Veit Pogner

Peter Sonn

David

Mezzo-soprano

Monika Bohinec

Magdalena

Thomas Ebenstein

Kunz Vogelgesang

Guido Jentjens

Konrad Nachtigall

Oliver Zwarg

Fritz Kothner

Benedikt Kobel

Balthasar Zorn

Franz Supper

Ulrich Eisslinger

Thorsten Scharnke

Augustin Moser

Karl Huml

Hermann Ortel

Dirk Aleschus

Hans Schwarz

Roman Astakhov

Hans Foltz

Tobias Kehrer

Un veilleur de nuit

Direction d'orchestre

Daniele Gatti

Mise en scène

Stefan Herheim

Décors

Heike Scheele

Costumes

Gesine Völlm

Lumières

Olaf Freese

Direction de choeur

Ernst Raffelsberger

Dramaturgie

Alexander Meier-Dörzenbach

Salzburger Festspiele

Others

Concert Association of the Vienna State Opera Chorus

Orchestra

Wiener Philharmoniker

Chor der Wiener Staatsoper

allemand

Die Meistersinger von Nürnberg -  (Les Maîtres chanteurs de Nuremberg)

Salzbourg

Autriche

Großes Festspielhaus

"The acclaimed premiere turns into a fabulous journey through time" (Stern).

Where there is no politics, art reigns with Wagner. Its rules are the rules of life, whoever succeeds in them has social success. In 1880 Wagner wrote that he hoped for an "aesthetic world order". In the Nuremberg of the "Meistersinger" it was anticipated.

The young Franconian knight Walther von Stolzing came to Nuremberg and fell in love with Eva. The daughter of the rich goldsmith Veit Pogner, however, was chosen by her father to be the bride of the person who won the prize in the public Meistersinger competition on St. John's Day. Walther is determined to do so and therefore applies for admission to the Meistersinger. He is to perform a trial song, which will be judged by the strict town clerk and marker Sixtus Beckmesser. Since he is also interested in Eva, it is hardly surprising that Walther does not pass the exam. When the knight wants to flee with Eva that night, he is prevented from doing so by the shoemaker Hans Sachs. Sachs was the only one of the Meistersinger to recognize Walther's talent and decided to help the lovers.

That same night, Beckmesser serenades Eva, whom he admires, which not only leads to all sorts of misunderstandings but also to a general fight. At the prize singing the following morning, with the help of Sachs, Beckmesser is ridiculed, and Walther wins Eva's hand and the master's degree with his song. When he wants to do without the latter, Sachs admonishes him in his famous final song "Don't despise the masters" before everyone celebrates the wise shoemaker and his clever words.

"Herheim's characters take on a life of their own, and ideas are exploited with relish. But the foundations of logic may be suspended like a fairy tale - an outstanding, subtly music-oriented precision of scenic implementation reigns supreme" (Der Standard).

"Hand on heart: It's been a long time since we've seen such a funny and great orgy of violence as this - and all without a drop of blood. In the brilliant details of the character leadership, the director has asked other godfathers: Their names are Wilhelm Busch, Walt Disney. Sachs and Beckmesser, David and Magdalene, Ritter Stolzing and his Evchen, Master Pogner and the apprentices charge as sharply and exaggeratedly as cartoon characters. As in cartoons, strange things arise from the everyday, immediate. And like cartoon characters, they hit each other and yet don't bleed " (Frankfurter Allgemeine).

"The first act of 'Meistersinger' never gave more thieving pleasure" (Süddeutsche Zeitung).

Photos