Hi gang… I’m weighing back in 2 years later and while I still consider myself a newbie, I must have watched/listened this opera well over a hundred times - and still not getting bored. And STILL hearing new things and learning new things.
As a fairly new newbie, coming from an appreciation for this opera from watching Richard Atkinson’s video analysis of the counterpoint and leitmotif, the only word I can generate is ... Glorious.
Bin begeistert! Diese Inszenierung ist irgendwie an mir vorbei gerutscht. Was für ein guter Beckmesser doch der Herr Prey war, und auch alle anderen Rollen sind sehr gut besetzt. Bravo!
I saw this quite young on purchased VHS tapes. Siegfried Jerusalem is, to me, the premiere Wagner Singer- I have never seen/heard him give a bad performance. But Richard Wagner truly created something unique when writing and composing the role of Hans Sachs. Bernard Weikl is utter perfection in this role- both voice and acting. When I did marry,Way back- I ended up with a man much older than myself. And to this day, I wonder how much Hans Sachs created by Wagner and Bernard Weikl influenced my decision.
There are so many things that make this the best Meistersinger I've ever heard and see, but the final handshake reconciliation is the final touch of human greatness. I'll always want to see that ending, and will see it whether it is present or not.
The white-haired "extra" who makes Sachs and Beckmesser shake hands in the closing moments is Wolfgang Wagner, the composer's grandson, and producer of this opera.
As a "newbie" taking his first steps into this "world", it's fine points like this that you shared (4 years ago, no less!) that make it an even grander experience. Thanks!
An absolute MASTERPIECE. A TOTAL JOY AND PLEASURE to listen to, every single time I play it, whichever of the 36 recordings I put on. DIE MEISTERSINGER alone made Wagner's name immortal for eternity, let alone the whole of his works.
I came here to see how Wagner presented Beckmesser as a Jewish scoundrel in this anti-semitic opera. It's a wonder how only a thousand Nazis liked the video despite 100K views.
@@psijicassassin7166 Nobody cares about your uncultured views. Btw. Wagner is greater than his critics and even than his most ardent admirers. That said, he's of course right in his metaphysics.
Excelente puesta... 100% artística. Es una pena que el festival actualmente tenga que soportar producciones mediocres experimentales que confunden a los iniciados en el arte Wagneriano. Gracias por subir tan maravillosa versión.
Saludos Danny Salguero. Creo firmemente que el arte es para ennoblecer y ensalzar el espíritu. Toda interpretación o expresión "artística" que pretenda deformar o desviarnos hacia otros senderos confusos, como sucede hoy en día, solo busca alejarnos de verdades y destinos grandiosos para el ser humano. El arte Wagneriano esta empapado de influencias y cánones estéticos, que van desde la leyenda, pasando por lo griego y clásico. Wagner nos legó una gran obra como aporte en la eterna búsqueda existencial. El pasado, presente y futuro se fusionan en el Anillo, por ejemplo, para ofrecernos toda una enciclopedia humana. Te sugiero la lectura de sus escritos: "Arte y revolución", "La obra de arte del futuro", "Opera y drama", "El judaismo en la música" que te darán mas luz para poder transitar en el sendero Wagneriano rumbo al Walhala de la plenitud artística. Obviamente todo esto de la mano de la audición de sus dramas musicales. Un abrazo.
@@melomano0077 Herzlichsten Dank für diesen wunderbaren Beitrag. So können nur edle und reife Seelen schreiben, wahre Eingeweihte und große Liebende....
Gracias por compartir esta versión. Duele tener que volver a ella para compensar lo que estamos viendo en las mediocres, incluso estúpidas puestas en escena actuales.
My god! Wagner was “meta” before meta was even a concept. Wagner invented “The Easter Egg!” Thank you Bee-Vai - you literally just made me love this opera even more!
@@KENBECKERART Wait until you see that at the end of Tristan und Isolde, a bit before the final leitmotif, there's a leitmotif that can also be heard in Wotan's farewell in Die Walküre, and with the same notes, just one octave higher :) It's funny because I've never seen that discussed anywhere. Anyways on that subject I've had this strange theory about a "Wagner multiverse", that in all likelyhood means absolutely nothing because multiverses weren't teally a thing back then. So using very dubious deduction methods, we can first guess that Tristan und Isolde and Die Meistersinger are related because of that leitmotif. But Tristan und Isolde is also related to the Ring because of that other leitmotif I mentioned. Since Wotan and Fricka are mentioned in Lohengrin, they are also related. And of course Lohengrin is related to Parsifal. And guess what? Parsifal and Lohengrin are characters from Wolfram von Eschenbach, who appears in Tannhäuser, so once again a relation. So all of these operas are (probably not though) related in some way! Anyways don't take this seriously because this isn't very serious. You could also make a case for some other passages resembling a leitmotif from another opera but that's quite farfetched honestly. Anyways thanks for your reply, that comment was originally just intended for me to remember where that part was
@@Bee-Vai Okay, so now I’m even more ready to go down the rabbit hole… I had the good fortune to study Medieval English literature and Arthurian Literature in school (wayyyy back…) and I was captivated by Eschenbach (and a host of other sources I’d not yet discovered like Chrétien du Trois, Gawain and the Green Knight and the real Beowulf…) I also don’t think Wagner was creating a “multiverse” so much as he was drawing from a very deep well of the “monomyth” where there is so much crossover between the archetypes of the human psyche. Since I know he was writing several operas simultaneously he certainly would have seen the recurring archetypal themes playing out; hence Hans Sachs and Eva’s “kind of” relationship (which hardly approached tragedy) had some notes similar to Tristan and Isolde’s otherwise very different and very tragic, fully “blown out” relationship. Unfulfilled love and longing are universal themes to different degrees with everyone, so of course he’d draw from that same root. Like a painter who favors certain palettes or techniques because that is how they apprehend a mood or story. Whew, all this “music appreciation” of course has just got me more fired up about this Wagnerian “rabbit hole” (and now I’m going to revisit Eschenbach too!)
A rendező a befejező felvonásban különösen hatásos megoldásokat választott. Dicsérjük meg végre a szerzőt, akiről a Thomas Mann azt írta:"Szenvedő és óriási, mint a század, amelyet a maga teljességében kifejez, a tizenkilencedik: így áll előttem Richard Wagner alakja."
So toll Weikl in dieser Rolle auch war, hier ist er einfach zu jung. Bei den Meistersingern lässt sich ja das historisch korrekte Alter von Hans Sachs ziemlich genau bestimmen wenn man Wagners Hinweis nimmt das er Witwer ist. Weikl ist hier 42. Wenn man ein bisschen historisch nachforscht, dann spielt die Oper am wahrscheinlichsten im Jahr 1561. Da war Hans Sachs bereits 67. Da macht Sachs Aussage "Mein Kind der wär zu alt für dich" auch durchaus Sinn. Das war Weikl hier aber definitiv nicht.
Hi gang… I’m weighing back in 2 years later and while I still consider myself a newbie, I must have watched/listened this opera well over a hundred times - and still not getting bored. And STILL hearing new things and learning new things.
I have listened to this opera for about 10 years at this point. A gem in a very chaotic world.
Same. It never gets old, unlike other musical works. This act especially is the best for me.
100 Times!?!?!??! You really need to go into Rehab my friend!!!!!!!!!!!!!!!
@@lefemmerachael If 100 times qualifies rehab, then I need to go to a mental asylum!
The opening scene looks as if Vermeer came into life.
Oh yes, indeed! I checked the description to see if it was a Vermeer, then scrolled to see if the artist was mentioned!
he is not Vermeer but Antonello da Messina
@@SigfriedNothung You mean "St Jerome in His Study"? Sure! Thank you for information.
@@kyellowplush2196 😄Yes , like please-.....
As a fairly new newbie, coming from an appreciation for this opera from watching Richard Atkinson’s video analysis of the counterpoint and leitmotif, the only word I can generate is ... Glorious.
I was in Bayreuth in 1982 and I saw this marvelous production !
a privilege
Glückspilz!
Weikl really was a great Hans Sachs!
Bin begeistert! Diese Inszenierung ist irgendwie an mir vorbei gerutscht. Was für ein guter Beckmesser doch der Herr Prey war, und auch alle anderen Rollen sind sehr gut besetzt. Bravo!
As far as I'm concerned, this is THE production of "Meistersinger". Absolutely splendid!
The Otto Schenk wasn't bad either.
RIP Graham Clark. A fantastic Mime as well
He also did the greatest Captain in Wozzeck I ever saw. Highly recommend watching him in the first scene of Act I, he completely steals the show.
I saw this quite young on purchased VHS tapes. Siegfried Jerusalem is, to me, the premiere Wagner Singer- I have never seen/heard him give a bad performance. But Richard Wagner truly created something unique when writing and composing the role of Hans Sachs. Bernard Weikl is utter perfection in this role- both voice and acting. When I did marry,Way back- I ended up with a man much older than myself. And to this day, I wonder how much Hans Sachs created by Wagner and Bernard Weikl influenced my decision.
There are so many things that make this the best Meistersinger I've ever heard and see, but the final handshake reconciliation is the final touch of human greatness. I'll always want to see that ending, and will see it whether it is present or not.
seen*
And Wagner’s grandson being there behind the handshake
@@LoveFor298Yen Yes, particularly special in this performance!!
That's not how Wagner the antisemitic bigot wanted it. The whole production is a joke.
The white-haired "extra" who makes Sachs and Beckmesser shake hands in the closing moments is Wolfgang Wagner, the composer's grandson, and producer of this opera.
That's solid craft without surprises - to me best manner to stage Meistersinger.
+Adeodatus100
Hitchcock appeared always at begin.
This is actually very moving, and adds yet another conciliatory detail to this amazing ending...
The Wagner genes are strong.
As a "newbie" taking his first steps into this "world", it's fine points like this that you shared (4 years ago, no less!) that make it an even grander experience. Thanks!
The final aria is amazing.
Es tut so gut so eine Inszenierung zu sehen. Ich wünschte nur soetwas würde es zu meinen Lebzeiten geben
..wie wahr...
@Berni Boy Der aktuelle Tannhäuser ist sogar noch schlimmer als der mit der Biogasanlage. Da rennt er als Clown rum. Was ein Schwachsinn...
An absolute MASTERPIECE. A TOTAL JOY AND PLEASURE to listen to, every single time I play it, whichever of the 36 recordings I put on. DIE MEISTERSINGER alone made Wagner's name immortal for eternity, let alone the whole of his works.
I mean it’s great but it’s nothing compared to Tristan und Isolde
What about the Ring? I love it!
17:40 - 18:30
Difficult to express how much I love this part. Pulls my heartstrings every time...
Ganz deiner Meinung!!
One of my favourite parts too
Loved it, all around, singing orchestra and staging.
I saw this production in 1986. Hermann Prey STOLE the show.
Amazing Wolfgang Wagner at the end😃
What a great production! Wonderful to see, hear and enjoy. It is a shame that so many operas these days make crazy productions out of the operas.
I came here to see how Wagner presented Beckmesser as a Jewish scoundrel in this anti-semitic opera. It's a wonder how only a thousand Nazis liked the video despite 100K views.
@@psijicassassin7166 Nobody cares about your uncultured views. Btw. Wagner is greater than his critics and even than his most ardent admirers. That said, he's of course right in his metaphysics.
@@psijicassassin7166 How is anything about Beckmesser Jewish?
@@fansofst.maximustheconfess8226 What do you mean by your last sentence?
I came only for the prize song and what an exhilarating experience.
Weikl....the best!!!
So gut war Jerusalem live nur selten als Stolzing. Schön, das zu hören!!
In der Tat! Hatte Peter Hofmann in der Inszenierung !
That was magnificent. Thank you, thank you, thank you!
So und nicht anders muss eine "Meistersinger-Inszenierung" aussehen. Unvergessen; RIP Wolfgang Wagner
Iu imh zzz zzz c UU
I agree totally ! 💔
Hard to believe this is a Bayreuth production
Simply stunning
Yes, once upon a time Bayreuth prided itself on presenting fine, traditional productions, strange as it may seem.
it's like a living painting
Yo a esta opera la AMOOOOOOOO!!!!! Mil y mil gracias por subirla.
Excelente puesta... 100% artística. Es una pena que el festival actualmente tenga que soportar producciones mediocres experimentales que confunden a los iniciados en el arte Wagneriano. Gracias por subir tan maravillosa versión.
melomano0077 En ese caso, para uno que empieza en el arte wagneriano, mas aun uno como musico y estudiante de musica, ¿que hay que hacer?
Saludos Danny Salguero. Creo firmemente que el arte es para ennoblecer y ensalzar el espíritu. Toda interpretación o expresión "artística" que pretenda deformar o desviarnos hacia otros senderos confusos, como sucede hoy en día, solo busca alejarnos de verdades y destinos grandiosos para el ser humano. El arte Wagneriano esta empapado de influencias y cánones estéticos, que van desde la leyenda, pasando por lo griego y clásico. Wagner nos legó una gran obra como aporte en la eterna búsqueda existencial. El pasado, presente y futuro se fusionan en el Anillo, por ejemplo, para ofrecernos toda una enciclopedia humana. Te sugiero la lectura de sus escritos: "Arte y revolución", "La obra de arte del futuro", "Opera y drama", "El judaismo en la música" que te darán mas luz para poder transitar en el sendero Wagneriano rumbo al Walhala de la plenitud artística. Obviamente todo esto de la mano de la audición de sus dramas musicales. Un abrazo.
melomano0077 gracias por tu respuesta.
Lo hacen a propósito para vengarse del maestro
@@melomano0077 Herzlichsten Dank für diesen wunderbaren Beitrag. So können nur
edle und reife Seelen schreiben, wahre Eingeweihte und große Liebende....
THANK YOU VERY MUCH, KIS¡¡¡
Luis García - Colombia
Quelle mise en scène admirable ! Et l'interprétation est parfaite. Quelle joie ! A quand un Tannhäuser beau comme cela ?
Gracias por compartir esta versión. Duele tener que volver a ella para compensar lo que estamos viendo en las mediocres, incluso estúpidas puestas en escena actuales.
Ah, Herman Prey, one of the handsomest Beckmesser. Alas, he also passed away.
Wundervoll
So good!
Merci pour ces "Maîtres chanteurs", l'un de mes opéras préférés. Un peu déçu néanmoins. Eva a l'air niais, et Beckmesser ne l'a pas assez !
This is the closest thing to prayer I have ever found!!!!!!!!!
1:54:06 - Perfekt!
Karl Oehl gave me goosebumps. Breathtaking.
1:08:07 {} Tristan...... und Isolde....
Beckmesser dominated this show!!!!!!
Good song to be sung.
Supernova of talent!
1:08:21 : Leitfomotif from Tristan und Isolde
My god! Wagner was “meta” before meta was even a concept. Wagner invented “The Easter Egg!” Thank you Bee-Vai - you literally just made me love this opera even more!
@@KENBECKERART Wait until you see that at the end of Tristan und Isolde, a bit before the final leitmotif, there's a leitmotif that can also be heard in Wotan's farewell in Die Walküre, and with the same notes, just one octave higher :) It's funny because I've never seen that discussed anywhere.
Anyways on that subject I've had this strange theory about a "Wagner multiverse", that in all likelyhood means absolutely nothing because multiverses weren't teally a thing back then. So using very dubious deduction methods, we can first guess that Tristan und Isolde and Die Meistersinger are related because of that leitmotif. But Tristan und Isolde is also related to the Ring because of that other leitmotif I mentioned. Since Wotan and Fricka are mentioned in Lohengrin, they are also related. And of course Lohengrin is related to Parsifal. And guess what? Parsifal and Lohengrin are characters from Wolfram von Eschenbach, who appears in Tannhäuser, so once again a relation. So all of these operas are (probably not though) related in some way! Anyways don't take this seriously because this isn't very serious. You could also make a case for some other passages resembling a leitmotif from another opera but that's quite farfetched honestly. Anyways thanks for your reply, that comment was originally just intended for me to remember where that part was
@@Bee-Vai Okay, so now I’m even more ready to go down the rabbit hole… I had the good fortune to study Medieval English literature and Arthurian Literature in school (wayyyy back…) and I was captivated by Eschenbach (and a host of other sources I’d not yet discovered like Chrétien du Trois, Gawain and the Green Knight and the real Beowulf…) I also don’t think Wagner was creating a “multiverse” so much as he was drawing from a very deep well of the “monomyth” where there is so much crossover between the archetypes of the human psyche. Since I know he was writing several operas simultaneously he certainly would have seen the recurring archetypal themes playing out; hence Hans Sachs and Eva’s “kind of” relationship (which hardly approached tragedy) had some notes similar to Tristan and Isolde’s otherwise very different and very tragic, fully “blown out” relationship. Unfulfilled love and longing are universal themes to different degrees with everyone, so of course he’d draw from that same root. Like a painter who favors certain palettes or techniques because that is how they apprehend a mood or story.
Whew, all this “music appreciation” of course has just got me more fired up about this Wagnerian “rabbit hole” (and now I’m going to revisit Eschenbach too!)
Lindo demais... Magnífico!
I have no idea how anyone can learn the part of Sachs. I think it was Wolfgang Wagner who led Beckmesser to shake hands with Sachs.
Der heilige Hieronymus im Gehäuse (Antonello da Messina) 3:00
A stunning production that puts the trashy, on the cheap, productions of today, to shame.
Unfassbar ……. 🤷🏻♂️😎💪🏻 ….. besser geht es einfach nicht!!!
Sublime
Premiered #otd in 1868 🌹🌹🌹
1:18:10
A rendező a befejező felvonásban különösen hatásos megoldásokat választott. Dicsérjük meg végre a szerzőt, akiről a Thomas Mann azt írta:"Szenvedő és óriási, mint a század, amelyet a maga teljességében kifejez, a tizenkilencedik: így áll előttem Richard Wagner alakja."
1:39:24 - amazing
14:40
Schön, aber das Orchester ist zu laut
Das muss so sein. Laut, und die Sänger sollen's schwer haben. Ist ja schließlich keine italienische Oper.
shere gut| dankeshone? sorry poor Germany, I had a drean of going to Byroyth? , now I can watch and listen.
32 walthers preislied
1:18:00~
41:42
1:06:28
The orchestra sound is weak.
That is Bayreuth for you. It muffles the voices of the orchestra in favour of the voices.
Starting at 37.00 OUT OF PITCH! 37.52 PAINFUUUUUUUL !
So toll Weikl in dieser Rolle auch war, hier ist er einfach zu jung. Bei den Meistersingern lässt sich ja das historisch korrekte Alter von Hans Sachs ziemlich genau bestimmen wenn man Wagners Hinweis nimmt das er Witwer ist.
Weikl ist hier 42. Wenn man ein bisschen historisch nachforscht, dann spielt die Oper am wahrscheinlichsten im Jahr 1561. Da war Hans Sachs bereits 67.
Da macht Sachs Aussage "Mein Kind der wär zu alt für dich" auch durchaus Sinn. Das war Weikl hier aber definitiv nicht.
borring 😴
53:59
1:18:11
1:04:10