Komplexitt Von Entscheidungsproblemen

Recordings of Die Meistersinger do not grow on trees; more than any other of Wagner’s operas it almost defines “festival opera”. Its four-hour-plus length is just the start: Sachs is an incredibly long role, and the character is complicated (moreso, say, that Gurnemanz in Parsifal–another endurance contest–who is religiously tunnel-visioned); Walther’s biggest moment comes at the opera’s very end and simply cannot be anything but great; Eva is sweet without being cloying and while the role is lyrical, it’s not easy to pin down dramatically; Beckmesser must be foolish but not grotesque; the orchestra is huge, and if the chorus, orchestra, and soloists get through the first act finale with flying colors, they still have the second act’s, which is a true challenge for any conductor to keep both together and clear.

This is an excellent spoof/satire of all things American with a side swipe at impoverished European royalty and the operetta genre to boot. Deborah Riedel is absolutely magnificent both in her acting and her singing. Her intentional horribly bad American accent in German is absolutely hilarious and is exactly the way so many Americans speak German although never so completely and swiftly. Yet when she sings, her German, of course, is impeccable and unaccented for, after all, she is an opera singer and will go only so far to dumb down.