Richard Wagner (1813 –1883) The Mastersingers of Nuremberg Music drama in three acts Libretto by the composer, English translation by Frederick Jameson, revised by Norman Feasey and Gordon Kember agner Hans Sachs, cobbler Norman Bailey bass-baritone

& Arts Library Photo Music © Lebrecht Veit Pogner, goldsmith Noel Mangin bass Kunz Vogelgesang, furrier David Kane tenor Konrad Nachtigal, tinsmith Julian Moyle bass Sixtus Beckmesser, town clerk Derek Hammond-Stroud baritone Fritz Kothner, baker David Bowman bass Balthasar Zorn, pewterer John Brecknock tenor Ulrich Eisslinger, grocer David Morton-Gray tenor

Augustin Moser, tailor Mastersingers Dino Pardi tenor Hermann Ortel, soapmaker James Singleton bass Hans Schwarz, stocking weaver Gerwyn Morgan bass Hans Foltz, coppersmith Eric Stannard bass

W Ri chard Walther von Stolzing, a young knight from Franconia Alberto Remedios tenor David, Sachs’ apprentice Gregory Dempsey tenor Eva, Pogner’s daughter Margaret Curphey soprano Magdalene, Eva’s nurse Ann Robson mezzo-soprano Nightwatchman Stafford Dean bass Sadler’s Wells Opera Chorus Sadler’s Wells Opera Orchestra Leonard Hancock assistant conductor Reginald Goodall

 Compact disc one Time Page Time Page 1 Prelude 10:55 �[�p. ���76] 11 ‘By silent hearth, one winter’s day’ 9:01 �[�p. ��91�] Walther, Sachs, Beckmesser, Kothner, Vogelgesang, Nachtigal Act I 12 ‘To make your footsteps safe and sure’ 3:22 [ �p�. 9��3]� 2 ‘As to thee our Saviour came’ 4:00 �[�p. ���76] Kothner, Walther, Beckmesser Congregation TT 74:34 3 ‘Oh stay! A word! one single word!’ 9:47 [ �p�. 76] ��� Walther, Eva, Magdalene, David Compact disc two 4 ‘David, come on, lend a hand!’ 2:12 �[�p. ��80�] Apprentices, David, Walther 1 ‘“Now begin!” So cried the sun with the land!’ 3:47 �[�p. ��93]� Walther 5 My Lord! The Mastersinger’s way’ 6:50 �[�p. ��81�] David, Walther, Apprentices 2 ‘Then have you finished?’ 2:34 [ �p�. 9��4]� Beckmesser, Walther, Pogner, Mastersingers, Kothner, Ortel, Moser, Foltz, 6 ‘What’s this that you’ve done? 3:48 �[�p. ��83]� David, Apprentices Nachtigal, Vogelgesang, Zorn 3 ‘Stay, Masters! Why so much haste?’ 8:18 �[�p. ��95]� 7 ‘Be well assured of my good favour’ 5:08 �[�p. ��83]� Pogner, Beckmesser, Walther, Sachs, Vogelgesang, Nachtigal Sachs, Beckmesser, Nachtigal, Kothner, Pogner, Mastersingers, Walther, Apprentices 8 ‘Now to a trial, as summoned hither’ 3:05 �[�p. ��85]� Act II Kothner, Pogner, Vogelgesang, Ortel, Zorn, Nachtigal, Moser, Apprentice, David, 4 Prelude 0:55 �[�p. ��98�] Sachs, Beckmesser, Eisslinger, Foltz, Schwartz 5 ‘Midsummer day! Midsummer day!’ 3:21 �[�p. ��99�] 9 ‘The feast of John, Midsummer day’ 13:22 [ �p�. 8�7]�� Apprentices, David, Magdalene, Sachs Pogner, Mastersingers, Apprentices, Vogelgesang, Sachs, Kothner, Pogner, 6 ‘We’ll see if Master Sachs is there’ 6:08 �[�����p.100�] Beckmesser, Nachtigal Pogner, Eva, Magdalene 10 ‘(Just as I thought!)’ 2:54 �[�p. ��90�] 7 ‘A pretty secret, that!’ 1:02 �[�����p.102�] Beckmesser, Mastersingers, Kothner, Pogner, Nachtigal, Sachs Eva, Sachs, David

  Time Page Time Page 8 ‘The elder’s scent, how tender’ 7:05 [ �p�����.102]� 3 ‘Fools! Fools! Ev’rywhere fools’ 8:00 �[�����p.124]� Sachs Sachs 9 ‘Good evening, Master!’ 12:14 �[�����p.103]� 4 ‘My friend, good morning!’ 4:57 �[�����p.125]� Eva, Sachs, Magdalene, Pogner 5 ‘My friend, in joyful days of youth’ 5:20 �[����p.12��6] 10 ‘He’s here now!’ 9:09 �[�����p.108�] Sachs, Walther Eva, Magdalene, Walther, Nightwatchman, Sachs 6 ‘“Warm in the sunlight, at dawning of day”’ 12:11 �[����p.12��7] 11 ‘What? Sachs? He too?’ 1:17 �[�����p.110�] Walther, Sachs Walther, Eva, Sachs 7 Interlude 3:34 [ �p�����.129]� 12 ‘Jerum! Jerum! Hal-la-hal-lo-he! O-ho!’ 12:16 �[�����p.111�] 8 ‘A Trial Song by Sachs! Is it true?’ 4:25 �[�����p.129�] Sachs, Beckmesser, Walther, Eva Beckmesser, Sachs 13 ‘“I see now dawning daylight”’ 5:58 �[����p.11��6] 9 ‘It was here, the paper!’ 8:35 �[�����p.131�] Beckmesser, Sachs, David, Kothner, Neighbours Sachs, Beckmesser 14 ‘The devil take your song, accursed rogue!’ 5:33 [ �p�����.118]� 10 ‘Here’s Eva! I had wondered where she was!’ 4:58 �[�����p.134]� David, Magdalene, Beckmesser, Neighbours, Journeymen, Sachs, Eva Apprentices, Women, Pogner, Walther, Sachs, Nightwatchman 11 ‘“Lured from their dances, the stars glided down”’ 3:00 �[�����p.135]� TT 79:54 Walther, Sachs 12 ‘The life of a cobbler’s nothing but woe!’ 1:35 [ �p����.136]�� Compact disc three Sachs Act III 13 ‘O Sachs! My friend! So kind thou art!’ 4:30 �[����p.136]�� 1 Prelude 7:40 �[�����p.122�] Eva, Sachs 2 ‘Here, master, here!’ 7:57 �[�����p.122�] TT 76:50 David, Sachs

  Time Page Time Page Compact disc four 11 ‘“Warm in the sunlight, at dawning of day”’ 7:29 �[�����p.145]�

1 ‘A child has been created’ 4:04 �[����p.137]�� Walther, Mastersingers, People, Sachs, Pogner, Eva Sachs 12 ‘The witness has been duly tried’ 2:09 [ �p����.146]��

2 ‘Radiant as the dawning that enchants my sight’ 5:26 �[����p.137]�� Sachs, People, Mastersingers, Pogner, Walther Eva, Walther, Sachs, Magdalene, David 13 ‘Do not disdain our Masters thus’ 8:04 [ �p����.146]��

3 ‘Now, Walther come! You must be brave!’ 2:25 �[�����p.139�] Sachs, People Sachs TT 61:26 4 ‘Saint Crispin, Saint Crispin!’ 4:08 �[�����p.139�] Shoemakers, Tailors, Bakers, Apprentices 5 ‘You dance? Look out if the Masters see you!’ 2:40 �[�����p.140�] David, Apprentices, Journeymen 6 Entrance of the Mastersingers – ‘“Silentium! Silentium!”’ 4:04 �[�����p.140�] Apprentices, People 7 ‘Awake! The dawn of day draws near’ 3:38 �[�����p.140�] People 8 ‘Words light to you’ 8:14 �[�����p.141�] Sachs, Pogner, Beckmesser, Kothner, People, Apprentices 9 ‘“Bathing in sunlight at dawning of day”’ 4:05 �[�����p.143]� Beckmesser, Mastersingers, People, Kotner, Nachtigal, Vogelgesang, Ortel, Foltz 10 ‘The song, in truth, is not by me’ 4:53 [ �p�����.144]� Sachs, Mastersingers, People, Apprentices

  It was the resounding success of Reggie Goodall’s Mastersingers that led to his conducting an ‘English’ Ring at the London Coliseum in the 1970s. That Ring moved me so intensely that I decided the performance must not be allowed to fade into the past, and sent me knocking on doors to preserve it on record. So I am thrilled that we have been able to add The Mastersingers to our Opera in English catalogue, alongside Reggie’s superb Ring.

Sir Peter Moores, CBE, DL July 2008

Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 10 11 for the translations of this English language Shaw (production), Edward Renton (music The Mastersingers of Sadler’s Wells company. Tracey had belonged to a small administration) and John Snape (finance), to group of influential critics, which included entrust Goodall with the greater assignment of On the day before the premiere of Sadler’s Wells ensemble was the sum of two companies, Andrew Porter, David Cairns and Peter the company’s first post-war production of The Opera’s new production of The Mastersingers the Sadler’s and the Wells. Together they Heyworth, who espoused the cause of Mastersingers of Nuremberg. of Nuremberg, its Managing Director Stephen were responsible for the majority of opera Reginald Goodall as a pre-eminent conductor Crucially, what they provided was time. That Arlen gave a talk to the first ever Arts Council- touring in England. Welsh National Opera of Wagner, largely on the evidence of four meant not only the concentrated production sponsored Arts Administration Course at still had an amateur chorus and no resident legendary performances of Die Walküre on the rehearsal time made available in December the London Polytechnic in Mortimer Street. orchestra. Another decade would pass before Covent Garden Opera’s tour in 1954. Goodall 1967 and January 1968 when the companies For him, I suspect, it was a matter of duty the founding of Opera North. So, the equally had joined Sadler’s Wells Opera during World were not engaged in touring, but the vital and, though open and engaging, he appeared resourced Sadler’s and Wells companies, led by War Two and had conducted the premiere of preliminary musical coaching where Goodall’s apprehensive. As one of that initial 1967/68 separate Musical Directors Bryan Balkwill and Peter Grimes for the reopening of the theatre knowledge and understanding and persistence intake of students, I asked him what we might Mario Bernardi, alternated between London in 1945, but soon after he had moved to were supreme. With the exception of Hans expect of his new Mastersingers. He replied: and the regions. Covent Garden as a staff conductor. He was Sachs, for which they engaged Norman Bailey, ‘Either it will be a catastrophe, or it will be the During and after the Christmas holiday ill-attuned to routine revivals of the Italian and an experienced British singer then working greatest success in the history of Sadler’s Wells.’ period each year, most of the suitable receiving French repertory, and by the end of the 1950s in Germany, the cast belonged to the existing The following evening, 31 January 1968, theatres were occupied with pantomime; and his conducting assignments had dwindled, ensemble and were singing their roles for another of the students, Brian McMaster, and in 1967/68 the familiar winter visit to the though he remained valued as a singers’ coach. the first time. So, they could be available to I stood next to each other for over five hours in Shakespeare Memorial Theatre in Stratford Even so, he led occasional performances of work on them over an extended period of the five shilling (25 pence in new money) Upper became no longer possible. So Arlen and his The Mastersingers at Covent Garden as late time, with sympathetic music staff led by a Circle Slips and witnessed history being made. directors decided to bring together the divided as 1960, but his method suffered from the conductor who had inhabited the music for Sadler’s Wells Theatre in those days was companies for a major joint project, taking patchy casting and lack of rehearsal time then half a lifetime. That was the key secret which the home of a substantial opera company. advantage of the relatively generous rehearsal prevalent. Goodall’s first Wagner for Sadler’s unlocked the talents of a generation of British It employed more than forty principal time that became available only at this Wells was a revival of Tannhäuser in January Wagnerians. For example, Alberto Remedios, singers on full-time contract. There were midpoint of the season because of the lull in 1961, which was marred by undernourished who had contributed a rather raw Walther over 110 musicians in the orchestra, and a the otherwise relentless touring routine. strings and an unprepossessing old production. von der Vogelweide to that earlier Tannhäuser, full complement of music staff. The chorus One of those directors was Edmund Tracey, On that evidence, it must have required was taught not only the notes of Walther von numbered ninety-six; and there was an Opera an ex music critic who had become Literary an act of faith by Arlen, Tracey and their Stolzing but also how to sing them softly and Ballet of twenty-four dancers. Or rather, this Manager, or Dramaturg, with responsibility fellow directors, who included Glen Byam as a poet.

12 13 The other vital condition, a secret now guest artists. You need a group of people Nazi years have led to understandably strong under the elder tree. For Joseph Keilberth, lost, was the nature of the company at Sadler’s who have lived together long enough to reactions against the tribute to a nationalist Music Director of the Bavarian State Opera in Wells. The Mastersingers is an ensemble opera know intimately each other’s strengths and art. So, it is perhaps more productive to focus Munich during its golden age in the 1960s, the in a sense which Wagner’s other operas are weaknesses. You want the kind of company on some musical judgments about where the heart of the opera was the prelude to Act III, not. Indeed, the impulse to set to work on which grew up and still exists in parts of kernel of the opera lies. which plumbs the depths of Sachs’s melancholy what the composer called ‘a popular comic Germany and Eastern Europe but which is Hans Knappertsbusch, the doyen of German and leads into his ‘Wahnmonolog’ with its opera’ derived from the impossibility of casting becoming increasingly rare in today’s global conductors of the old school whom Goodall Schopenhauer-like pessimism about the folly the title roles of Tristan and Isolde and the labour market. In the 1960s, Sadler’s Wells did especially admired, believed that the true of man. consequent failure to secure a performance not have Mastersingers buried in its soil, as a climax of the opera was the quintet which Goodall’s Mastersingers does not fall short of that opera. ‘This time,’ Wagner boasted to German theatre of the time would have, but it concludes Act III Scene I. It is the still moment at any of these crucial moments, but I believe his publisher, ‘I shall need neither a so-called was a tilled field ready to be ploughed. when the five central characters combine in that for him the heart of the matter, and his first tenor nor a great tragic soprano.’ Sure, the Nonetheless, the labour ahead of Goodall harmony to dedicate the new work of art. more passionate outpouring, was the section central character of Hans Sachs, the opera’s and his team was immense. Wagner’s vision of For Rudolf Kempe, whom Goodall assisted beginning ‘O Sachs, mein Freund,’ (‘O Sachs! ‘jovial-poetic’ hero, is a big role, but he is only an easy-to-perform, popular comic opera was in preparing the work at Covent Garden in My friend!’) when Eva, after she has been one of the twelve titular mastersingers (thirteen overtaken by a structure and subject matter 1963, everything led towards the great choral surprised by Walther’s preview of the prize if you count the absentee Niklaus Vogel). Every altogether more ambitious and profound. By outburst of ‘Wach’ auf’ (‘Awake!’), when Hans song, turns instead towards Sachs to express master has his apprentice, and beyond them the time of its completion and performance Sachs, poised to make his introductory speech her realisation that he has sacrificed his own stands the vital presence of the large chorus in Munich in 1868, he could write to King before the song contest, is surprised by the feelings for her in favour of the younger who make up the populace of sixteenth- Ludwig of Bavaria: ‘It is impossible that you whole community joining to sing the poem of man. The rise and fall of Goodall’s orchestra century Nuremberg: the congregation in should not have sensed, under the opera’s hope beginning ‘Wach’auf, es nahet gen den is drenched in tears which encompass both St. Catherine’s Church in Act I; the disturbed quaint superficies of popular humour, the Tag’, which he wrote thirty-seven years earlier supreme joy and unrequited sorrow. Goodall, neighbourhood of Act II; and, above all, the profound melancholy, the lament, the cry in his youth. In the theatre, the effect was and his Sachs Norman Bailey, understood great community in the festival meadow beside of distress of poetry in chains, and its re- spine-tingling. Georg Solti, who conducted the boiling exasperation in the middle-aged the river Pegnitz in Act III. Wagner’s poem incarnation, its new birth, its irresistible magic a new production at Covent Garden only a cobbler’s heart and its overriding generosity. may extol ‘holy German art,’ but his model power achieving mastery over the common and year after Goodall’s at Sadler’s Wells, was at A decade or so after the Sadler’s Wells was the communal experience of Ancient the base.’ his most seductive in summoning the magic Mastersingers, I came to know Goodall when Greek drama. Directors and conductors interpret the balance of Midsummer’s Eve in Act II, when Sachs we worked together on his first production of To bring this ideal to convincing life, it is between these elements in different ways. In evokes the subtle interrelation of humanity and Tristan und Isolde at Welsh National Opera. not enough to assemble an array of eminent our lifetime, the horrors of Germany during the nature in his ‘Fliedermonolog’, his musings Struggling to write the programme notes, I

14 15 asked him what that opera was about, and he has already fallen in love. He learns that her reject out of hand. He sees that the young man that evening. Before their plan (which has been confessed that he had not yet penetrated to father, Veit Pogner, the goldsmith, has offered has the power which, under proper guidance, overheard by Sachs) can be put into operation, its dark heart. He thought the other mature her hand as a prize to the Master who shall may lead the art of the Mastersingers away the lovers hear the sound of approaching Wagner operas were easier to understand. prove the victor at the Singing Contest which from the decaying paths of tradition to a new footsteps and they are compelled to hide. The The Ring was about nature; Parsifal about is to be held the next day. Eva’s companion, and more noble ideal. newcomer is the importunate Beckmesser. 11 compassion. For him, Mastersingers was by Magdalene, is in love with David, the youthful As he begins his serenade, 12 Sachs starts to then in the past, and he did not want to apprentice of Hans Sachs, the cobbler, and Act II sing a rollicking song from his work-bench. conduct it again. as she is leaving the church with Eva, she A street in Nuremberg with a view of the houses This does not suit Beckmesser’s plan and he No doubt, this or that passage has been tells David to instruct Walther in the many of Hans Sachs and Veit Pogner invites Sachs to listen to his song and criticize better sung or played, and will be in the future; complicated rules of Mastersinging so that her 4 Prelude. 5 It is Midsummer Eve and as it so that he may correct any faults in time for but I think that Goodall sensed that the mistress may perhaps win the man she really David and the other apprentices are putting up his performance the next day. 13 Sachs agrees generosity of spirit which inhabited Sadler’s loves. the shutters. Magdalene comes to ask for news to do so and in his post as ‘Marker’ contrives Wells and its company in the final years at that 7 – 10 The Mastersingers arrive, among of Walther’s trial with the Mastersingers. She to carry on his work and to hammer on his theatre would never be recaptured. them the fussy and pedantic Town Clerk, is dismayed to hear that he was not considered last with increasing regularity throughout Sixtus Beckmesser, who also aspires to Eva’s fit for admission to the Guild. Hans Sachs Beckmesser’s song. © 2008 Nicholas Payne hand. 11 He is overjoyed that he is to act as returns to his shop, dismisses David for the The noise wakes David, who begins to ‘Marker’ when Walther sings his trial song, for night and sets to work to finish a pair of shoes cudgel the serenader unmercifully. 14 The Synopsis his duty is to mark down all violations of the for Beckmesser. disturbance soon arouses all the neighbours official rules. 6 – 9 Meanwhile, Pogner and Eva have also who join in the riot, not knowing what it is returned to their own house, which is opposite about. Suddenly the Nightwatchman’s horn Compact disc one that of Hans Sachs. After her father has gone is heard, the confusion quickly subsides, and Compact disc two 1 Prelude indoors, Eva learns the news of Walther’s Sachs gives Walther shelter in his house. The 1 He quickly sees that the young knight is failure from Magdalene, who also tells her that houses are shut up and the sleepy Watchman Act I a formidable rival in love, 2 and he plays a Beckmesser is on his way to serenade her. It passes slowly along the empty street. The interior of the Church of St Catherine in prominent part in securing his rejection as is agreed that Magdalene is to dress herself in Nuremberg a candidate for the contest. 3 The meeting Eva’s clothes and take her place at the window. Compact disc three 2 – 6 At the conclusion of the afternoon breaks up in confusion and it is only Hans 10 Walther comes to find Eva and as he realises service a young knight, Walther von Stolzing, Sachs who discerns the beauties and genius of that he cannot now hope to gain her hand as Act III manages to speak to Eva, with whom he Walther’s song, which all the other Masters a Mastersinger, he decides to elope with her Inside Sachs’ workshop the following morning

16 17 1 Prelude. 2 David, dressed in his finery and, at the sight of Eva, bursts forth into the Austria and Germany. He then returned to international career has taken him to major for the Festival of St John’s Day, repeats his final stanza of his song, in a sudden flood of the United Kingdom where he has sung with opera stages and festivals throughout Europe verses to his master. 3 After he has gone Sachs inspiration. all the major opera companies. As one of the and the United States, including several reflects gravely on human folly and the unruly leading Wagner singers of his generation he is seasons at Bayreuth, and to collaborations proceedings of the previous night. 4 – 5 associated particularly with the title role in with conductors such as Sir Colin Davis, Compact disc four Walther appears and tells Sachs of a beautiful Der fliegende Holländer and Hans Sachs in Sir Georg Solti, James Levine, Carlo Maria dream from which he has just awakened. The 1 – 3 Magdalene and David appear, and after Die Meistersinger von Nürnberg. He has Giulini, Wolfgang Sawallisch, Claudio Abbado cobbler entreats him to sing it to him in the Sachs has formally promoted the latter from also sung the Landgraf in Tannhäuser with and Daniel Barenboim. For Chandos he has form of as Mastersong, while the vision is still an apprentice to a journeyman, the five voices Opera North and Wotan/the Wanderer and recorded the title role in Sir Michael Tippett’s fresh in his mind. 6 As Walther sings, Sachs join in a quintet based upon the melody of Gunther with English National Opera, where King Priam. writes down the words, offering some technical Walther’s song. as company member he also sang Pizarro advice from time to time, sensing that here 4 – 8 The scene changes to an open space (Beethoven’s Leonore), Count di Luna Alberto Remedios (Walther von Stolzing), is the song which will undoubtedly win the on the banks of the river Pegnitz where all (Il trovatore), Alfio (Cavalleria rusticana), among the leading British heroic tenors of his prize. Sachs and Walther go off to dress for the the Guilds are gathered together for the great Scarpia (Tosca), the Father (Hansel and Gretel), generation, studied in Liverpool with Edwin festival. 7 Interlude. Festival. 9 Beckmesser is the first to sing, Prince Gremin (Eugene Onegin), Kutuzov Francis and at the Royal College of Music and 8 Beckmesser, still smarting from his but as he has been quite unable to memorise (Prokofiev’s War and Peace) and the Forester made his debut with Sadler’s Wells Opera (later beating the night before, enters and chances his words correctly, he fails miserably. He (The Cunning Little Vixen) among other roles. English National Opera) as Tinca in Il tabarro. upon the paper on which Sachs has just written rushes away in shame and fury amid the With The Royal Opera, Covent Garden he His numerous roles with that company include the words of Walther’s prize song. Thinking derision of the crowd. 10 Sachs now calls upon has appeared as Balstrode (Peter Grimes, Don Ottavio, Tamino, Max (Der Freischütz), that Sachs himself has decided to enter the Walther, as the real author of the song, to step also on tour to Palermo) and as �������Germont Alfredo, Faust (in both Gounod’s opera and contest, he steals the paper, but is surprised on forward. 11 – 12 His impassioned and inspired père (La traviata), Ford (Falstaff ), Wolfram The Damnation of Faust), Des Grieux (Manon), the return of the cobbler. 9 Realising what has performance completely wins the hearts of all (Tannhäuser), Kurwenal (Tristan und Samson (Samson and Delilah), Lenski, Erik happened Sachs gives the song to Beckmesser his listeners. He is crowned by Eva as the victor Isolde), Donner (Das Rheingold), Wotan (The Flying Dutchman), Lohengrin, Walther and tells him that he may sing the song himself of the contest, 13 and the opera ends with a (Die Walküre), Klingsor and Amfortas (The Mastersingers of Nuremberg), Tristan, if he wishes. Beckmesser retires in triumph, jubilant chorus in praise of Hans Sachs. (Parsifal), Jochanaan (Salome) and the Siegmund, Siegfried and Bacchus (Ariadne on thinking that with a song by the great Sachs, Music Master (Ariadne auf Naxos). Other Naxos). He made his debut at The Royal Opera, he is sure to be the winner. Born in South Africa, the bass-baritone roles have included Oroveso (Norma), Covent Garden as Dimitri (Boris Godunov) and 10 Eva comes with the excuse that her new Norman Bailey (Hans Sachs) studied in Banquo (Macbeth), the King (Aida), the returned to sing Florestan, Aeneas (Les Troyens), shoes are hurting her. 11 – 13 Walther returns Vienna and spent his early career singing in Doctor (Wozzeck) and Schigolch (Lulu). His Max, Erik, Siegfried, Bacchus and Mark

18 19 (Sir Michael Tippett’s The Midsummer Marriage). Opera, the Theater an der Wien, the Theater Wells (later English National Opera). Major (La bohème). By the following year his voice He has also performed with Welsh National am Gärtnerplatz and three seasons with The roles included Don Ottavio, Belmonte, had settled as a bass and he sang the role of Opera and Scottish Opera and spent two years Netherlands Opera. In South and North Ferrando, Count Ory, Almaviva (The Barber Sarastro (The Magic Flute). He studied in Paris with Frankfurt City Opera. He made his debut America he has sung at the Teatro Colón, of Seville), Alfredo, des Grieux (Manon), with Dominique Modesti, and in London at The Metropolitan Opera, New York as Buenos Aires and with The Metropolitan Tamino, the Duke (A Night in Venice) and with Joseph Hislop, and from 1963–67 he Bacchus and has also appeared in San Francisco Opera, New York and San Diego Opera among Werther. His roles for The Royal Opera have sang with Sadler’s Wells Opera. He also made (as Dimitri and Don Carlos), in Los Angeles, many others. Major roles have included included Fenton (Falstaff ) and Rinuccio many appearances at the Hamburg Staatsoper, San Diego and Seattle (as Siegfried), in Boston Dr Bartolo, Rigoletto, Fra Melitone (La forza (Gianni Schicchi), and he also has sung and Victoria State Opera, and from 1979 he (as Gounod’s Faust) and at the Teatro Colón del destino), Sharpless, Tonio (Pagliacci), Gennaro (Lucrezia Borgia) with Dame Joan regularly sang Fafner, Hunding and Hagen in in Buenos Aires (as Peter Grimes). With Papageno, Alberich, Beckmesser, Faninal Sutherland. John Brecknock has performed Seattle Opera’s Ring productions. Dame Joan Sutherland he toured Australia (Der Rosenkavalier), Krušina (The Bartered frequently throughout Europe, including at Noel Mangin’s most notable roles were Don singing Edgar (Lucia di Lammermoor), Alfredo, Bride) and Sir Robert Cecil (Gloriana) besides the Vienna Staatsoper, and in the Americas. Pasquale, Ochs and Osmin, and in 1981 he Lenski and Faust, and a close association with numerous roles in works by Gilbert and His roles abroad include Don Ottavio at the was awarded an OBE. He died in 1995. that country has involved performances as Sullivan and by Offenbach. He has taken Metropolitan Opera, New York, Ernesto Florestan, Siegmund, Radames and Otello part in several first British stage productions, (Don Pasquale) and Fenton in Miami, the Born in Douglas on the Isle of Man, Margaret with Opera �����������������������������������Australia as well as appearances in including Haydn’s Orfeo ed Euridice (as Duke (Rigoletto) in Houston, Count Ory in Curphey (Eva) trained at the Birmingham Melbourne, Adelaide and Brisbane. Alberto Creonte), Rossini’s La pietra del paragone (as Ottawa, Werther in Rouen and San Diego, School of Music, toured with Opera for All Remedios received a CBE in the 1981 Queen’s Pacuvio), War and Peace (as Napoleon, with Ramiro in Buenos Aires, and Idomeneo and and spent two years in the chorus of the Birthday Honours List. In his retirement he English National Opera) and Gottfried von Ramiro in Paris. Glyndebourne Festival before joining Sadler’s took up residence in Australia. Einem’s Der Besuch der alten Dame (as the Wells Opera (later English National Opera), Schoolmaster, at Glyndebourne). He created Noel Mangin (Veit Pogner) was born in where she made her debut as Micaela (Carmen) The English baritone Derek Hammond- the role of the Old Fisherman in the world Wellington, New Zealand, and sang his first and went on to sing La Musica (Monteverdi’s Stroud (Sixtus Beckmesser) studied with Elena premiere of Malcolm Williamson’s The Violins solo as a boy soprano at the age of eight. He Orfeo), the Countess (The Marriage of Figaro), Gerhardt and Gerhard Hüsch in Munich of Saint-Jacques at Sadler’s Wells. He has made his debut as a tenor at the age of twenty- Pamina, Ninetta (The Thieving Magpie), and London, and his career has embraced received many honours including, in 1987, one after studying with Ernest Drake. He Mary Stuart (Donizetti’s opera of that name), both the recital platform and the operatic the OBE. sang as a tenor for three years, before his voice Violetta, Elisabeth de Valois (Don Carlos), stage. He has sung with all the major British underwent a change, and eighteen months Santuzza (Cavalleria rusticana), both Mimì opera companies while his engagements in John Brecknock (Balthasar Zorn) comes later he emerged as a bass-baritone, singing and Musetta (La bohème), Marguerite (Berlioz’s Europe have included the Bavarian State from Nottinghamshire. He joined Sadler’s Germont Père (La traviata) and Marcello The Damnation of Faust) and Ellen Orford

20 21 (Peter Grimes) among many other roles. Her Francisco) and Figaro (with performances for years he conducted a repertoire ranging from its now legendary complete production of renowned Wagnerian performances with the Scottish Opera and the Metropolitan Opera, Il trovatore to Troilus and Cressida, and was a The Ring of the Nibelung, built up between company have included Elsa (Lohengrin), Eva New York). repetiteur. 1970 and 1973 and the first to be given in (The Mastersingers of Nuremberg), Sieglinde, Only rarely was he given the chance to English for some years. He went on to conduct Brünnhilde and Gutrune. She participated The English conductor Reginald Goodall was conduct operas by the composer he most Das Rheingold and Die Walküre for The Royal in the British premiere of Mozart’s Lucio born in 1901 and studied conducting under admired, Richard Wagner. This omission was Opera, Tristan und Isolde and Die Walküre for Silla at the Camden Theatre, has made guest Malcolm Sargent and Constant Lambert rectified in 1968, not by The Royal Opera Welsh National Opera and Parsifal and Tristan appearances in Europe, won a medal at the at the Royal College of Music. From 1929 but by Sadler’s Wells, which invited him to at English National Opera. He received a CBE International Competition in Sofia, Bulgaria, to 1936 he was organist and choirmaster conduct a new production of The Mastersingers in 1975 and was knighted in 1985. Reginald and also enjoyed an active career as a concert at St Alban the Martyr, Holborn, where he of Nuremberg. So remarkable was its success Goodall died in 1990 at the age of eighty- singer. conducted the first British performances that he returned to the company to conduct eight. of choral works by Bruckner, Stravinsky Stafford Dean (Nightwatchman) was born and Szymanowski, as well as early works by in Surrey and studied with Gordon Clinton Britten. During the late 1930s he worked at the Royal College of Music and with as assistant to Albert Coates and Malcolm Howell Glynne and Otakar Kraus. He made Sargent among others. At the beginning his Glyndebourne debut in L’incoronazione of the Second World War he became di Poppea). Roles for Sadler’s Wells incuded conductor of the Bournemouth-based Wessex Daland, Sparafucile, Coline and Pluto Philharmonic Orchestra. (Monteverdi’s Orfeo). Roles for The Royal In June 1945, as a member of Sadler’s Opera have included Masetto, the He- Wells Opera (later English National Opera), Ancient (The Midsummer Marriage), Publius he conducted the first performance of Peter (La clemenza di Tito), Don Alfonso, Bottom Grimes at the newly reopened Sadler’s Wells and Gessler (William Tell). His international Theatre. In the following year he shared debut was as Leporello in Germany, and with Ernest Ansermet the first performances he specialised in the bass and baritone of Britten’s The Rape of Lucretia during the repoertoire of Mozart. Two roles for which Glyndebourne Festival’s first postwar season. he is particularly famed are Leporello (which Shortly afterwards he joined the music staff at he performed in London, Stuttgart and San Covent Garden, where for the next twenty-five

22 23 y (opposite) Alberto Remedios Remedios Alberto and Ann Robson Robson Ann with with curphe margaret

24 25 British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 to University (providing the lead donation which paved the way for the development of the realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust in Said Business School). 1993 to create a new art gallery in the country. Through his charities he has disbursed many millions to a wide variety of arts, environmental and social causes ‘to get things done and In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a class art gallery that would provide an especially welcoming environment for the ‘first-time’ number of young artists in the crucial, early stages of their careers, several of whom – Dame gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – became ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the world-famous. Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk

Today, the Peter Moores Foundation supports talented young singers with scholarships, Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, has made it possible for Chandos Records to issue the world’s largest catalogue of operas Oxford. He was a student at the Vienna Academy of Music, where he produced the Austrian recorded in English translation, and enabled Opera Rara to record rare bel canto repertoire premiere of Benjamin Britten’s The Rape of Lucretia, and at the same time was an assistant which would otherwise remain inaccessible to the general public. producer with the Vienna State Opera, working with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He In live performance, the Foundation has encouraged the creation of new work and schemes was Vice-Chairman of Littlewoods in 1976, Chairman from 1977 to 1980 and remained a to attract new audiences, financed the publication of scores, especially for world premieres director until 1993. of modern operas, and enabled rarely heard works to be staged by British opera companies and festivals. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern Projects supported by the Foundation to help the young have ranged from a scheme College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by to encourage young Afro-Caribbeans ‘stay at school’ for further education, to the HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for his endowment of a Faculty Directorship and Chair of Management Studies at Oxford charitable services to the arts.

26 27 Arlen und seine Musikdirektoren, die beiden und zum Ende der 1950er Jahre waren seine Die Meistersinger von Sadler’s Wells Ensembles zu einem großen gemeinsamen Engagements als Dirigent recht rar geworden, Projekt zusammenzubringen und die während er als Gesangslehrer weiterhin gefragt Am Tag vor der Premiere der neuen Prinzipale mit Vollzeitverträgen. Das Orchester vergleichsweise großzügige Probenzeit zu war. Immerhin leitete er selbst 1960 noch Inszenierung der Meistersinger von Nürnberg zählte mehr als 110 Musiker, außerdem nutzen, die wegen der Flaute in der sonst gelegentlich Aufführungen der Meistersinger an der Oper von Sadler’s Wells hielt deren gab es die übliche musikalisch-technische erbarmungslos dichten Tournee-Routine erst in Covent Garden, die zu der Zeit üblichen Geschäftsführender Direktor Stephen Arlen Belegschaft. Der Chor bestand aus 96 Sängern ab der Mitte der Spielzeit zur Verfügung stand. zusammengeflickten Besetzungen und im Rahmen des allerersten vom Arts Council und das Opernballett aus 24 Tänzern. Genau Einer dieser Direktoren war Edmund Tracey, knapp bemessenen Probenzeiten waren seiner geförderten Studiengangs für Kulturverwaltung genommen setzte sich das Ensemble aus zwei ein ehemaliger Musikkritiker, der inzwischen Arbeitsweise jedoch nicht zuträglich. Goodalls am London Polytechnic in der Mortimer Street Operntruppen zusammen, der von Sadler’s als Dramaturg für die Übersetzungen erste Wagner-Aufführung für Sadler’s Wells einen Vortrag. Ich nehme an, für ihn war dies und der von Wells. Zusammen waren diese des Repertoires dieses englischsprachigen war eine Wiederaufnahme des Tannhäuser eher eine Pflichtveranstaltung, und obwohl er für die meisten Operntourneen in England Ensembles verantwortlich war. Tracey hatte zu im Januar 1961, die unter einer zu dünnen zwar offen und engagiert wirkte, schien er auch verantwortlich. Die Welsh National Opera einer kleinen Gruppe einflussreicher Kritiker Streicherbesetzung und einer unattraktiven alten ein wenig besorgt. Als einer der Studenten hatte zu der Zeit nur einen Laienchor und gehört, zu denen auch Andrew Porter, David Inszenierung litt. Vor diesem Hintergrund war dieser ersten Gruppe von 1967/68 fragte ich kein festes Orchester. Bis zur Gründung der Cairns und Peter Heyworth zählten und die es ein Zeichen großer Zuversicht seitens Arlen, ihn, was wir von seinen neuen Meistersingern Opera North würde noch ein ganzes Jahrzehnt sich für Reginald Goodall als herausragendem Tracey und der übrigen Direktoren – darunter zu erwarten hätten. Er antwortete: “Entweder vergehen. Somit alternierten die ähnlich Dirigent der Musik Wagners einsetzten – dies Glen Byam Shaw (Inszenierung), Edward wird es eine Katastrophe oder es wird ausgestatteten und jeweils von einem eigenen vor allem auf der Basis von vier legendären Renton (Musikverwaltung) und John Snape der größte Erfolg in der Geschichte von Musikdirektor geleiteten Operntruppen von Aufführungen der Walküre während der (Finanzen) – dass sie Goodall die bedeutend Sadler’s Wells.” Am folgenden Abend, dem Sadler’s (unter Brian Balkwill) und von Wells Tournee des Opernensembles von Covent größere Aufgabe der ersten Nachkriegs- 31. Januar 1968, stand ich zusammen mit (unter Mario Bernardi) zwischen London und Garden im Jahre 1954. Goodall wirkte seit Inszenierung der Meistersinger von Nürnberg Brian McMaster, einem weiteren Studenten der Provinz. dem Zweiten Weltkrieg an der Oper von anvertrauten. der Gruppe, über fünf Stunden lang für 5 Während und nach der Weihnachtszeit Sadler’s Wells und hatte 1945 anlässlich der Was sie vor allem zu bieten hatten, war Shilling (25 Pence in der neuen Währung) stand jedes Jahr in den meisten passenden Wiedereröffnung des Hauses die Premiere genügend Zeit. Dies bedeutete nicht nur die in den oberen Rängen und war Zeuge dieser Tourneetheatern Pantomime auf dem von Peter Grimes geleitet, wenig später hatte er konzentrierte Probenzeit für die Inszenierung historischen Aufführung. Spielplan, und in der Spielzeit 1967/68 jedoch als fester Dirigent nach Covent Garden im Dezember 1967 und Januar 1968, während Das Sadler’s Wells Theatre beherbergte war auch das übliche Wintergastspiel im gewechselt. Er eignete sich nicht besonders der die Ensembles nicht auf Tournee waren, in jenen Tagen eine großzügig ausgestattete Shakespeare Memorial Theatre in Stratford für routinemäßige Wiederaufnahmen des sondern das überaus wichtige musikalische Operntruppe. Diese umfasste rund vierzig nicht länger möglich. Daher beschlossen italienischen und französischen Repertoires, Training vorab, bei dem Goodalls Kenntnis,

28 29 Verständnis und Beharrlichkeit besonders zur auszuwählen, aus der Unmöglichkeit, die die lange genug miteinander gelebt haben, um unwiderstehliche magische Kraft, die alles Geltung kamen. Außer dem Hans Sachs, für Titelrollen von Tristan und Isolde zu besetzen ihre gegenseitigen Stärken und Schwächen Gemeine und Niedere bezwingt.” den der in Deutschland arbeitende erfahrene und der daraus resultierenden Unmöglichkeit, genauestens zu kennen. Man benötigt die Regisseure und Dirigenten haben die britische Sänger Norman Bailey verpflichtet eine Aufführung dieser Oper zu realisieren. Art von Gemeinschaft, die sich in Teilen Balance zwischen diesen Elementen in wurde, wurden die Rollen mit Mitgliedern “Dieses Mal”, prahlte er gegenüber seinem von Deutschland und Osteuropa entwickeln unterschiedlicher Weise interpretiert. In des Ensembles besetzt, die diese zum ersten Verleger, “werde ich weder einen so genannten konnte und zum Teil heute noch existiert, unserer Zeit haben die Schrecken des Mal sangen. Die Sänger standen damit über ersten Tenor noch einen großen tragischen die jedoch auf dem gegenwärtigen globalen nationalsozialistischen Regimes in Deutschland einen längeren Zeitraum für die Arbeit an Sopran benötigen.” Natürlich ist die zentrale Arbeitsmarkt immer seltener wird. Das Sadler’s verständlicherweise zu einer starken Ablehnung ihren Rollen zur Verfügung, begleitet von Figur des Hans Sachs, des “jovial-lyrischen” Wells der 1960er Jahre hatte die Meistersinger dieses Tributs an eine nationalistische Kunst gutwilligen Musikern unter der Leitung eines Helden der Oper, eine große Rolle, doch er zwar nicht in dem Maße im Blut wie es bei geführt. Es ist daher vielleicht sinnvoller, sich Dirigenten, der sich schon sein halbes Leben ist nur einer von zwölf im Titel genannten einem deutschen Opernhaus der Zeit der Fall hier auf eine Reihe musikalischer Urteile zu lang mit diesem Werk beschäftigt hatte. Meistersingern (bzw. dreizehn, wenn wir den gewesen wäre; immerhin aber könnte man die beschränken, die zu erkunden suchen, wo der Hierin lag der wesentliche Schlüssel, der die abwesenden Niklaus Vogel hinzuzählen). Truppe einem gepflügten Feld vergleichen, das eigentliche Kern dieser Oper liegt. Talente einer ganzen Generation von britischen Jeder dieser Meister hat seinen Lehrling, und nun bestellt werden konnte. Hans Knappertsbusch, der Wortführer der Wagnerianern aufschloss. Alberto Remedios hinter diesen steht unabdingbar der große Trotzdem aber lag vor Goodall und deutschen Dirigenten der Alten Schule, die zum Beispiel, der in der früher liegenden Chor, der die Bevölkerung Nürnbergs im seinem Team eine enorme Aufgabe. Goodall ganz besonders bewunderte, sah den Inszenierung des Tannhäuser einen recht 17. Jahrhundert verkörpert – die Gemeinde Wagners ursprüngliche Vision einer leicht eigentlichen Höhepunkt der Oper in dem groben Walther von der Vogelweide geliefert der Katharinenkirche im ersten Akt, die aufzuführenden populären komischen Oper Quintett, das die erste Szene des dritten Akts hatte, lernte nun nicht nur die Noten des aufgewühlten Nachbarn im zweiten und vor war einer wesentlich ambitionierteren und beschließt. Dies ist der Moment der Stille, als Walther von Stolzing, sondern auch wie er sie allem die große Versammlung auf der Festwiese tiefgründigeren Struktur und Thematik die fünf zentralen Figuren sich harmonisch sanft und poetisch zu singen hatte. am Ufer der Pegnitz im dritten. Wagners gewichen. Als das Werk 1868 vollendet war vereinen, um das neue Kunstwerk zu weihen. Die andere wesentliche Bedingung – ein Dichtung mag zwar die “heil’ge deutsche und in München aufgeführt wurde, konnte Für Rudolf Kempe, dem Goodall 1963 bei heute verlorenes Geheimnis – war der Kunst” preisen, sein Vorbild war jedoch die er König Ludwig von Bayern schreiben: der Vorbereitung einer Inszenierung der Oper Charakter des Ensembles von Sadler’s Wells. gemeinschaftliche Erfahrung des antiken “Ihnen wird unter der anheimelnden in Covent Garden zur Seite stand, kulminiert Bei den Meistersingern handelt es sich um eine griechischen Dramas. Oberfläche volkstümlichen Humors kaum alles in dem großen Chorsatz des “Wach’ auf”, Ensemble-Oper – in einer Weise, die für andere Um dieses Ideal überzeugend zum Leben die tiefe Melancholie, die Klage, den Ruf der als Hans Sachs, der im Begriff steht, seine Opern Wagners nicht zutrifft. Eigentlich zu erwecken genügt es nicht, eine Reihe Verzweiflung einer geketteten Dichtkunst Rede zur Eröffnung des Gesangswettstreits erwuchs die Intention, eine vom Komponisten namhafter Gastkünstler zu versammeln. entgangen sein wie sodann auch ihre zu halten, überrascht innehält, da die so bezeichnete “volkstümliche komische Oper” Vielmehr bedarf es einer Gruppe von Personen, Reinkarnation, ihre Wiedergeburt, ihre gesamte anwesende Menge gemeinsam das

30 31 Hoffnungsgedicht “Wach’ auf, es nahet gen Preislieds überrascht wurde, sich an Sachs, um worden, und das wird auch in Zukunft vielen komplizierten Regeln des Meistersingens den Tag” anstimmt, das Wagner 37 Jahre ihm gegenüber ihr Begreifen zu äußern, dass vorkommen; ich glaube jedoch, dass Goodall einzuweisen, damit ihre Herrin vielleicht den zuvor in seiner Jugend geschrieben hatte. Auf er seine eigenen Gefühle für sie zugunsten des gespürt hat, dass der großzügige Geist, der Mann zum Gatten gewinnt, den sie tatsächlich der Bühne war der Effekt dieser Stelle zutiefst jüngeren Mannes aufgegeben hat. Das An- und Sadler’s Wells und sein Ensemble in den letzten liebt. bewegend. Georg Solti, der nur ein Jahr Abschwellen von Goodalls Orchester ist von Jahren an diesem Opernhaus beseelte, nicht 7 – 10 Die Meistersinger treffen ein; unter nach Goodalls Produktion in Sadler’s Wells Tränen durchdrungen, die zugleich größte wiederkehren würde. ihnen befindet sich auch der umständliche und eine neue Inszenierung in Covent Garden Freude und einsamen Schmerz ausdrücken. pedantische Stadtschreiber Sixtus Beckmesser, © 2008 Nicholas Payne dirigierte, hat den Zauber der Johannisnacht Goodall und Norman Bailey in der Rolle der sich ebenfalls um Evas Hand bemüht. 11 im zweiten Akt in ganz besonders anrührender des Hans Sachs zeigen hier tiefes Verständnis Er ist hocherfreut darüber, dass man ihn zum Weise eingefangen, wo Sachs in seinem für die akute Verzweiflung des reifen Inhaltsangabe “Merker” von Walthers Probegesang bestimmt “Fliedermonolog” die subtilen Beziehungen Schuhmachers, in die sich unvergleichliche hat, denn das bedeutet, dass er alle Verstöße zwischen Mensch und Natur besingt. Großmut mischt. gegen die offiziellen Regeln protokollieren soll. Compact disc one Für Joseph Keilberth, Musikdirektor der Rund ein Jahrzehnt nach den Meistersingern Bayerischen Staatsoper in München während von Sadler’s Wells lernte ich Goodall 1 Vorspiel Compact disc two ihrer goldenen Ära in den 1960er Jahren, lag persönlich kennen, als wir an seiner ersten das Herz der Oper im Vorspiel zum dritten Inszenierung von Tristan und Isolde an der Erster Akt 1 Er begreift schnell, dass der junge Ritter Akt, das die Tiefen von Sachs’ Melancholie Welsh National Opera zusammenarbeiteten. In der Nürnberger Katharinenkirche in der Liebe ein ernst zu nehmender Rivale auslotet und zu seinem “Wahnmonolog” Ich mühte mich gerade mit dem Programmtext 2 – 6 Nach dem Nachmittagsgottesdienst ist, 2 und er trägt wesentlich dazu bei, mit dessen an Schopenhauer gemahnendem ab und fragte ihn, worum es in dieser Oper findet der junge Ritter Walther von Stolzing dass dieser als Kandidat für den Wettstreit Pessimismus angesichts der menschlichen eigentlich ginge, woraufhin er eingestand, dass Gelegenheit zu einem Gespräch mit Eva, in abgelehnt wird. 3 Die Zusammenkunft löst Torheit überleitet. er noch nicht bis ins finstere Herz des Werks die er sich verliebt hat. Er erfährt, dass ihr sich in allgemeinem Tumult auf und nur Hans Goodalls Meistersinger wird jedem dieser vorgedrungen sei. Seiner Meinung nach waren Vater, der Goldschmied Veit Pogner, ihre Hand Sachs erkennt die Schönheit und Genialität zentralen Momente gerecht; ich glaube die anderen reifen Opern Wagners leichter zu demjenigen Meister zur Ehe versprochen hat, von Walthers Gesang, während alle übrigen allerdings, dass für ihn der wesentliche verstehen. Im Ring ging es um die Natur, in der aus dem am folgenden Tag stattfindenden Meister diesen von vornherein ablehnen. Er Augenblick – den er auch entsprechend Parsifal um Leidenschaft. Die Meistersinger Gesangswettstreit als Sieger hervorgehen wird. erkennt, dass der junge Mann die Begabung leidenschaftlich interpretiert – in der Passage lagen für ihn bereits in der Vergangenheit und Evas Begleiterin Magdalene ist in David, den hat, unter der richtigen Anleitung die Kunst liegt, die mit den Worten “O Sachs, mein er wollte sie nicht noch einmal dirigieren. jungen Lehrling des Schusters Hans Sachs, des Meistersingens weg von den Pfaden der Freund” beginnt; an dieser Stelle wendet Sicherlich ist die eine oder andere Passage verliebt, und als sie gemeinsam mit Eva die in Verfall geratenen Traditionen und hin zu Eva, die soeben von Walthers Kostprobe des inzwischen besser gesungen oder gespielt Kirche verlässt, bittet sie David, Walther in die einem neuen und nobleren Ideal zu führen.

32 33 Zweiter Akt können, hören die beiden Liebenden Compact disc three an dem Wettstreit teilzunehmen, wird jedoch Eine Straße in Nürnberg mit Blick auf die sich nähernde Fußtritte und müssen sich von dem zurückkehrenden Schumacher Häuser von Hans Sachs und Veit Pogner verstecken. Der Neuankömmling ist der Dritter Akt überrascht. 9 Sachs begreift, was sich ereignet 4 Vorspiel. 5 Es ist Johannistag und aufdringliche Beckmesser. 11 Als dieser mit Am darauffolgenden Morgen in der Werkstatt hat, und überlässt Beckmesser das Lied mit der als David und die anderen Lehrlinge die seinem Ständchen beginnt, 12 fängt Sachs von Sachs Erlaubnis, er könne es selbst vortragen, wenn Läden schließen, taucht Magdalene auf an seiner Werkbank an, ein ausgelassenes 1 Vorspiel. 2 David, der sich für das er wolle. Beckmesser geht triumphierend ab und erkundigt sich nach dem Ausgang von Lied zu schmettern. Dies passt Beckmesser Johannisfest fein herausgeputzt hat, sagt in dem Glauben, mit einem Lied des großen Walthers Wettstreit mit den Meistersingern. gar nicht und er bittet Sachs, seinem Gesang seinem Meister noch einmal seine Verse Sachs sei sein Sieg gesichert. Sie ist betrübt zu hören, dass man ihn nicht in zuzuhören und ihn zu kritisieren, damit er auf. 3 Als er gegangen ist, sinniert Sachs 10 Eva kommt herein mit der Ausrede, ihre die Zunft aufnehmen will. Hans Sachs kehrt seine Fehler rechtzeitig vor dem Wettstreit ernsthaft über die menschliche Torheit und neuen Schuhe täten ihr weh. 11 – 13 Walther zu seiner Werkstatt zurück, entlässt David am nächsten Tag korrigieren könne. 13 Sachs die turbulenten Ereignisse der vorigen Nacht. kehrt zurück; als er Eva erblickt, beginnt er in für die Nacht und macht sich daran, ein Paar erklärt sich bereit und während er seine Rolle 4 – 5 Walther erscheint und erzählt Sachs einem spontanen Anflug von Inspiration die Schuhe für Beckmesser fertigzustellen. als “Merker” versieht, fährt er gleichzeitig von einem wunderschönen Traum, von dem er letzte Strophe seines Liedes zu singen. 6 – 9 In der Zwischenzeit sind auch Pogner mit seiner Arbeit fort und hämmert während eben erwacht ist. Der Schuhmacher beschwört und Eva in ihr Haus zurückgekehrt, das dem der gesamten Darbietung Beckmessers mit ihn, ihm den Traum in Form eines Meisterlieds Compact disc four von Hans Sachs gegenüber liegt. Nachdem zunehmender Regelmäßigkeit auf seinen vorzusingen, solange er diese Vision noch ihr Vater hineingegangen ist, erfährt Eva Leisten. frisch im Gedächtnis hat. 6 Während Walther 1 – 3 Magdalene und David erscheinen, und von Magdalene die Nachricht von Walthers Der Lärm weckt David, der den singt, schreibt Sachs seine Worte nieder und nachdem Sachs David förmlich vom Lehrling Scheitern. Magdalene erzählt ihr außerdem, Serenadensänger erbarmungslos zu erteilt gelegentlich technische Ratschläge; er zum Gesellen befördert hat, vereinen sich die dass Beckmesser auf dem Weg zu ihr sei, um verprügeln beginnt. 14 Bald sind alle spürt, dass dieses Lied zweifellos den Preis fünf Stimmen zu einem Quintett, das sie aus ihr ein Ständchen zu bringen. Die beiden Nachbarn wach und stürzen sich ebenfalls gewinnen wird. Sachs und Walther gehen der Melodie von Walthers Lied entwickeln. machen aus, dass Magdalene Evas Kleider in den Aufruhr, ohne dessen Ursachen ab, um sich für den Festtag anzukleiden. 4 – 8 Die Szene wechselt zu einem anlegen und sich an ihrer Stelle ans Fenster zu kennen. Plötzlich ertönt das Horn 7 Zwischenspiel. offenen Gelände am Ufer der Pegnitz, wo setzen wird. 10 Walther sucht Eva auf und des Nachtwächters; der Tumult legt sich 8 Beckmesser, dem von der Prügelei am sich sämtliche Zünfte zum großen festlichen als er begreift, dass er nun nicht mehr darauf innerhalb kurzer Zeit und Sachs gewährt Vorabend noch alles weh tut, erscheint und Wettstreit versammeln. 9 Beckmesser singt hoffen kann, als Meistersinger ihre Hand Walther Schutz in seinem Haus. Die entdeckt den Zettel, auf dem Sachs kurz zuvor als erster, doch er scheitert kläglich, da er sich zu gewinnen, beschließt er, noch am selben Haustüren werden verschlossen und der den Text von Walthers Beitrag zum Wettstreit seinen Text nicht korrekt hat merken können. Abend mit ihr zu fliehen. Bevor sie ihren schläfrige Wächter entfernt sich langsam auf notiert hat. Er entwendet den Zettel in der Unter den Schmährufen der Menge läuft er Plan (den Sachs mit angehört hat) ausführen der nun leeren Straße. Annahme, dass Sachs selbst beschlossen hat, voller Wut und Scham davon. 10 Sachs bittet

34 35 nun Walther – als den eigentlichen Schöpfer Kutusow (Prokofjews Krieg und Frieden) und Wells Opera (der späteren English National Australien als Edgar (Lucia di Lammermoor), des Liedes – hervorzutreten. 11 – 12 Walthers den Förster (Das schlaue Füchslein). An der Opera) als Tinca in Il tabarro. Zu seinen Alfredo, Lenski und Faust auf Tournee, leidenschaftliche und beseelte Darbietung Royal Opera Covent Garden ist er als Balstrode zahlreichen Rollen mit dem Ensemble zählen und seine engen Beziehungen zu dem Land überzeugt die Herzen aller seiner Zuhörer. Er (in Peter Grimes, auch auf Tournee in Palermo), Don Ottavio, Tamino, Max (Der Freischütz), hatten Aufführungen mit Opera Australia wird von Eva als Sieger des Wettstreits gekrönt Germont (La traviata), Ford (Falstaff ), Alfredo, Faust (sowohl in Gounods als Florestan, Siegmund, Radames und 13 und die Oper endet mit einem jubilierenden Wolfram (Tannhäuser), Kurwenal (Tristan und gleichnamiger Oper als auch in La Damnation Otello zur Folge, daneben Auftritte in Chor zu Ehren von Hans Sachs. Isolde), Donner (Das Rheingold ), Wotan (Die de Faust von Berlioz), Des Grieux (Manon), Melbourne, Adelaide und Brisbane. Königin Walküre), Klingsor und Amfortas (Parsifal ), Samson (Samson et Dalila), Lenski, Erik Elisabeth II. hat Alberto Remedios 1981 den Übersetzung: Stephanie Wollny Jochanaan (Salome) und der Musiklehrer (Der fliegende Holländer), Lohengrin, Walther Orden eines Commander of the Order of the (Ariadne auf Naxos) aufgetreten. Zu seinen von Stolzing (Die Meistersinger von Nürnberg), British Empire verliehen. Der in Südafrika geborene Bassbariton jüngsten Rollen gehören Oroveso (Norma), Tristan, Siegmund, Siegfried und Bacchus Norman Bailey (Hans Sachs) studierte in Banquo (Macbeth), der König (Aida), der (Ariadne auf Naxos). An der Royal Opera Der englische Bariton Derek Hammond- Wien und verbrachte die Anfangsjahre seiner Doktor (Wozzeck) und Schigolch (Lulu). Seine Covent Garden debütierte er als Dimitri Stroud (Beckmesser) hat bei Elena Gerhardt Laufbahn in Österreich und Deutschland. internationale Karriere hat ihn an bedeutende (Boris Godunow) und kehrte dorthin zurück, und Gerhard Hüsch in München und London Dann ging er nach Großbritannien, wo er an Opernbühnen und Festivals in ganz Europa um Florestan, Aeneas (Les Troyens), Max, studiert, und seine Karriere erstreckt sich allen bedeutenden Opernhäusern gesungen und den USA geführt; so war er mehrere Erik, Siegfried, Bacchus und Mark (in ebenso auf das Konzertpodium wie auf die hat. Als einer der führenden Wagner-Sänger Spielzeiten in Bayreuth beschäftigt und hat Sir Michael Tippetts The Midsummer Opernbühne. Er ist mit allen bedeutenden seiner Generation ist er besonders in der mit Dirigenten wie Sir Colin Davis, Sir Georg Marriage) zu singen. Er ist auch an der britischen Operntruppen aufgetreten und Titelrolle des Fliegenden Holländer und als Solti, James Levine, Carlo Maria Giulini, Welsh National Opera sowie der Scottish war auf dem europäischen Kontinent unter Hans Sachs in den Meistersingern von Nürnberg Wolfgang Sawallisch, Claudio Abbado und Opera aufgetreten und war zwei Jahre an anderem an der Bayerischen Staatsoper, bekannt geworden. Außerdem hat er den Daniel Barenboim zusammengearbeitet. Für den Städtischen Bühnen Frankfurt am Main am Theater an der Wien, am Theater am Landgrafen im Tannhäuser an der Opera North Chandos hat er die Titelrolle von Sir Michael engagiert. Sein Debüt an der Metropolitan Gärtnerplatz und drei Spielzeiten lang und Wotan/Wanderer sowie Gunther an der Tippetts King Priam aufgenommen. Opera New York gab er als Bacchus, und an der Nederlandse Opera engagiert. In English National Opera gesungen; als Mitglied außerdem ist er in San Francisco (als Dimitri Süd- und Nordamerika hat er am Teatro dieses Ensembles gab er unter anderem auch Alberto Remedios (Walther), der zu den und Don Carlos), Los Angeles, San Diego Colón in Buenos Aires, an der New Yorker Don Pizarro (Beethovens Leonore), den Grafen führenden britischen Heldentenören seiner und Seattle (als Siegfried), in Boston (als Metropolitan Opera, an der San Diego von Luna (Il trovatore), Alfio (Cavalleria Generation zählt, studierte in Liverpool bei Gounods Faust) und am Teatro colón in Opera und an vielen anderen Bühnen rusticana), Scarpia (Tosca), den Vater (Hänsel Edwin Francis sowie am Royal College of Buenos Aires (als Peter Grimes) aufgetreten. gesungen. Zu seinen bedeutenden Partien und Gretel), Fürst Gremin (Eugen Onegin), Music und gab sein Debüt an der Sadler’s Mit Dame Joan Sutherland war er in zählen Dr. Bartolo, Rigoletto, Fra Melitone

36 37 (La forza del destino), Sharpless, Tonio (Il barbiere di Siviglia), Alfredo, Des Grieux als Knabensopran im Alter von acht Jahren. Sadler’s Wells Opera (der späteren English (Pagliacci), Papageno, Alberich, Beckmesser, (Manon), Tamino, den Herzog (Eine Nacht Sein Debut als Tenor feierte der 21jährige nach National Opera) beitrat. Dort debütierte sie Faninal (Der Rosenkavalier), Krušina in Venedig von Johann Strauß (Sohn)) und Studien bei Ernest Drake. Nachdem er drei als Micaela (Carmen) und sang dann neben (Die verkaufte Braut) und Sir Robert Cecil Werther gegeben hat und in L’italiana in Jahre als Tenor gesungen hatte, veränderte sich vielen anderen Partien La Musica (Monteverdis (Gloriana); daneben hat er zahlreiche Rollen Algeri, Die lustige Witwe und La gazza ladra seine Stimme, und 18 Monate später trat er als Orfeo), die Gräfin (Le nozze die Figaro), in Werken von Gilbert und Sullivan und aufgetreten ist. An der Royal Opera, Covent Baßbariton in den Rollen des Germont Père Pamina, Ninetta (La gazza ladra), Maria solchen von Offenbach gespielt. Er war Garden war er als Fenton (Falstaff ), Rinuccio (La traviata) und des Marcello (La Bohème) Stuarda (in Donizettis gleichnamiger Oper), an mehreren britischen Erstaufführungen (Gianni Schicchi), Iopas (Les Troyens) und auf. Im darauffolgenden Jahr hatte seine Violetta, Elisabeth de Valois (Don Carlos), beteiligt, beispielsweise an Haydns Orfeo Gennaro (Lucrezia Borgia) zu sehen. Darüber Stimme das Niveau eines Basses erreicht, und Santuzza (Cavalleria rusticana), sowohl Mimi ed Euridice (als Creonte), Rossinis La pietra hinaus hat er an der Welsh National Opera er sang die Rolle des Sarastro (Die Zauberflöte). als auch Musetta (La bohème), Marguerite del paragone (als Pacuvio), Prokofjews Krieg gesungen. Zu seinen Engagements außerhalb Er studierte bei Dominique Modesti in Paris (La Damnation de Faust) und Ellen Orford und Frieden (als Napoleon, an der English Großbritanniens zählen Don Giovanni in und bei Joseph Hislop in London und wirkte (Peter Grimes). Zu ihren viel beachteten National Opera) und Gottfried von Einems New York (Metropolitan Opera), Ottawa und von 1963 bis 1967 an der Sadler’s Wells Opera. Wagner-Darbietungen mit dem Ensemble Der Besuch de alten Dame (als der Lehrer, Buenos Aires, Die Zauberflötein New York Außerdem trat er häufig an der Hamburger gehörten Elsa (Lohengrin), Eva (Die in Glyndebourne). Er hat anläßlich der (Metropolitan Opera), New Orleans und Staatsoper und der Victoria State Opera auf Meistersinger von Nürnberg), Sieglinde, Uraufführung von Malcolm Williamsons Ottawa, Il barbiere di Siviglia in San Francisco, und sang ab 1979 regelmäßig den Fafner, Brünnhilde und Gutrune. Sie war an der The Violins of Saint-Jacques am Sadler’s Wells Miami und Wien, La Cenerentola in Paris (an Hunding und Hagen in Inszenierungen von britischen Erstaufführung von Mozarts Lucio Theatre die Rolle des alten Fischers kreiert. Es der Opéra), Buenos Aires und Kapstadt, Werther Wagners Ring an der Seattle Opera. Silla am Camden Theatre beteiligt, hat an wurden ihm viele Auszeichnungen zuerkannt, in Rouen, Buenos Aires und San Diego, La Noel Mangins bekannteste Rollen waren mehreren Opernbühnen Kontinentaleuropas zum Beispiel 1987 der Orden Officer of the traviata in Kapstadt und Ottawa, Les Pêcheurs die des Don Pasquale, Ochs und Osmin, und gastiert und beim Internationalen Wettbewerb Order of the British Empire (OBE). de perles in Rouen und Paris sowie Le Comte Ory 1981 wurde er mit einem OBE ausgezeichnet. in Sofia einen Preis gewonnen; außerdem war in Ottawa, Rigoletto in Houston und Falstaff Er starb 1995. sie als Konzertsängerin viel beschäftigt. In der Nähe von Nottingham in England in Miami. Auf Tonträger hat er unter anderem geboren, studierte John Brecknock (Zorn) Offenbachs Robinson Crusoë für die Reihe Opera Margaret Curphey (Eva), in Douglas auf der Stafford Dean (Nachtwächter) wurde in Surrey an der Birmingham School of Music und Rara und La traviata für Chandos und die Peter Isle of Man geboren und an der Birmingham geboren und studierte bei Gordon Clinton bei Denis Dowling. Er trat der Sadler’s Wells Moores Foundation aufgenommen. School of Music ausgebildet, ist als lyrischer am Royal College of Music sowie bei Howell Opera (später: English National Opera) bei, Sopran mit Opera for All auf Tornee Glynne und Otakar Kraus. Er debütierte in wo er unter anderem Don Ottavio, Belmonte Noel Mangin (Pogner) wurde in Wellington in gegangen und hat zwei Jahre dem Chor des Glyndebourne in L’incoronazione di Poppea. Ferrando, den Grafen Ory, Almaviva Neuseeland geboren und sang sein erstes Solo Glyndebourne Festival angehört, ehe sie der Für Sadler’s Wells sang er Daland, Sparafucile,

38 39 Coline und Pluto (Monteverdis Orfeo). An der Im Juni 1945 dirigierte er als Mitglied der und Die Walküre an der Royal Opera, Tristan er mit dem Orden CBE ausgezeichnet und Royal Opera Covent Garden trat er als Masetto, Sadler’s Wells Opera (der späteren English und Isolde und Die Walküre an der Welsh 1985 zum Ritter geschlagen. Reginald Goodall He–Ancient (The Midsummer Marriage), National Opera) die Uraufführung von Peter National Opera sowie Tristan und Parsifal verstarb 1990 im Alter von achtundachtzig Publius (La clemenza di Tito), Don Alfonso, Grimes im neu eröffneten Sadler’s Wells an der English National Opera. 1975 wurde Jahren. Bottom und Gessler (William Tell) auf. Sein Theatre. Im Jahr darauf wechselte er sich in der internationales Debüt kam als Leporello in ersten Nachkriegsspielzeit des Glyndebourne Deutschland, und er spezialisierte sich nun auf Festival bei den ersten Aufführungen von das Bass- und Baritonrepertoire von Mozart. Brittens The Rape of Lucretia als Dirigent mit Zwei Partien, die ihn berühmt gemacht haben, Ernest Ansermet ab. sind Leporello (London, Stuttgart und San Kurz darauf trat er dem musikalischen Stab Francisco) und Figaro (Scottish Opera und der Royal Opera Covent Garden bei, wo er Metropolitan Opera New York). über die folgenden fünfundzwanzig Jahre hin ein Repertoire dirigierte, das von Il trovatore bis Der englische Dirigent Reginald Goodall Troilus and Cressida reichte. wurde 1901 geboren und studierte Nur selten erhielt er Gelegenheit, Opern Orchesterleitung am Royal College of seines Lieblingskomponisten Richard Music unter Malcolm Sargent und Constant Wagner zu leiten. Diese Unterlassungssünde Lambert. Von 1929 bis 1936 war er Organist wurde 1968 wettgemacht, und zwar nicht und Chorleiter der Kirche St. Alban the von der Royal Opera, sondern von Sadler’s Martyr im Londoner Stadtteil Holborn, wo er Wells, wohin er eingeladen wurde, eine die britische Erstaufführung von Chorwerken Neuinszenierung der Meistersinger von von Bruckner, Strawinski und Szymanowski Nürnberg zu dirigieren. Der Erfolg war sowie frühe Werke von Britten besorgte. so durchschlagend, dass er an das Haus Gegen Ende der 1930er-Jahre war er unter zurückkehrte, um seine heute legendäre anderem als Assistent von Albert Coates vollständige Produktion vom Ring des und Malcolm Sargent tätig. Zu Beginn des Nibelungen zu erarbeiten, die zwischen 1970 Zweiten Weltkriegs wurde er Dirigent des im und 1973 Gestalt annahm und seinerzeit die südenglischen Bournemouth ansässigen Wessex erste seit vielen Jahren war, die auf Englisch Philharmonic Orchestra. gesungen wurde. Später leitete er Das Rheingold

40 41 with Margaret Curphey and Norman Bailey Norman and Curphey Margaret with remed i os A lberto

42 43 de la pause dans l’incessante succession des de la distribution inégale et du manque de Les Maîtres chanteurs du Sadler’s Wells tournées. répétitions, phénomène fréquent à cette L’un de ces directeurs était Edmund époque. Le premier opéra de Wagner que La veille de la création de la nouvelle complète s’y ajoutait. Il y avait 96 choristes Tracey, ancien critique musical devenu Goodall dirigea pour le Sadler’s Wells fut une production du Sadler’s Wells Opera, et l’Opera Ballet disposait de 24 danseurs. directeur littéraire ou dramaturge qui avait reprise de Tannhäuser en janvier 1961, gâchée Les Maîtres chanteurs de Nuremberg, son En réalité, cette compagnie était le résultat la responsabilité des traductions de cette par des cordes trop peu fournies et la qualité directeur administratif Stephen Arlen de la fusion de deux autres compagnies: compagnie de langue anglaise. Tracey avait médiocre de cette ancienne production. Au vu s’adressa au premier Arts Administration Sadler’s et Wells. Ensemble, elles assuraient la appartenu à un petit groupe de critiques de cette évidence, il fallut certes un acte de foi Course à avoir jamais été sponsorisé par majorité des tournées d’opéra en Angleterre. influents dont faisaient partie aussi Andrew à Arlen, Tracey et leur équipe dont faisaient le Arts Council, au London Polytechnic Le Welsh National Opera avait encore un Porter, David Cairns et Peter Heyworth, partie aussi Glen Byam Shaw (mise en scène), (Mortimer Street). J’ai le sentiment que pour chœur d’amateurs, mais n’avait pas d’orchestre qui défendait la cause de la prééminence de Edward Renton (direction musicale) et John lui c’était en quelque sorte une obligation résident. Une nouvelle décennie allait Reginald Goodall quant à la direction des Snape (administration financière) pour confier et, en dépit de son apparente cordialité, il s’écouler avant la fondation de l’Opera North. œuvres de Wagner, fait attesté par quatre à Goodall cette mission bien plus importante semblait anxieux. En tant qu’étudiant de Et donc les compagnies Sadler’s et Wells dont exécutions légendaires de Die Walküre lors de qu’était la direction de la première production cette première promotion en 1967/68, je lui les ressources étaient identiques et qui avaient la tournée du Covent Garden Opera en 1954. des Maîtres chanteurs de Nuremberg d’après- demandai ce que l’on pouvait attendre de sa l’une et l’autre leur directeur musical, Bryan Goodall avait rejoint le Sadler’s Wells Opera guerre de la compagnie. nouvelle production. Il répondit: “Ce sera soit Balkwill et Mario Bernardi, alternaient entre pendant la Deuxième Guerre mondiale et Le temps nécessaire fut mis à disposition, une catastrophe, soit le plus grand succès de Londres et les régions. avait dirigé la création de Peter Grimes pour et ce fut essentiel. Non seulement le temps l’histoire du Sadler’s Wells”. Le lendemain, Chaque année, pendant et après les la réouverture du théâtre en 1945, mais peu pour les répétitions du spectacle lui-même le 31 janvier 1968, un autre étudiant, Brian vacances de Noël, la plupart des théâtres qui après il était parti à Covent Garden comme prévu en décembre 1967 et janvier 1968 McMaster, se retrouva avec moi pendant plus s’y prêtaient étaient réservés à la pantomime; chef répétiteur. Il n’était pas en accord avec lors de l’interruption des tournées, mais de cinq heures dans les places à cinq shillings en outre, en 1967/68, la visite d’hiver la routine des reprises du répertoire italien ou aussi pour les indispensables répétitions (25 pence actuels) des Upper Circle Slips et habituelle au Shakespeare Memorial Theatre français et vers la fin des années cinquante, musicales préliminaires au cours desquelles nous vîmes s’écrire l’histoire. à Stratford ne fut plus possible. Arlen et ses il fut de moins en moins appelé à la direction Goodall brilla tant par ses connaissances que À cette époque le Sadler’s Wells Theatre directeurs décidèrent donc de réunir les deux d’orchestre bien qu’il demeurât apprécié par sa compréhension et sa persévérance. abritait une importante compagnie d’opéra. compagnies autour d’un projet commun comme répétiteur pour les chanteurs. Il Exception faite du rôle de Hans Sachs pour Plus de 40 chanteurs principaux y avaient un d’envergure, mettant à profit un temps de dirigea toutefois occasionnellement lequel Norman Bailey – un chanteur anglais contrat à temps plein. L’orchestre comptait répétition relativement important dont on ne Les Maîtres chanteurs à Covent Garden expérimenté qui travaillait en Allemagne – fut plus de 110 musiciens, et une équipe musicale pouvait disposer qu’en milieu de saison lors jusqu’en 1960, mais sa méthode souffrit engagé, seuls figuraient dans la distribution des

44 45 interprètes de l’ensemble qui tous chantaient central de Hans Sachs, le héros “poético-jovial” cela aurait pu être d’un théâtre allemand de le véritable climax de l’opéra était le quintette leur rôle pour la première fois. Ils purent de l’opéra est un grand rôle, mais il n’est que l’époque, mais c’était un champ prêt à être qui conclut l’Acte III, Scène I, ce moment donc se rendre disponibles pour le travailler l’un des douze maîtres chanteurs titulaires labouré. de calme lors duquel les cinq protagonistes au cours d’une longue période, avec une (treize si l’on tient compte de l’absence de Le travail qui attendait Goodall et son entonnent ensemble dans une parfaite équipe musicale compréhensive dirigée par Niklaus Vogel). Chaque maître a son apprenti, équipe était néanmoins titanesque. La harmonie, la consacrant ainsi, la nouvelle un chef qui avait vécu au cœur même de la et il y a, en outre, la présence vitale du grand vision qu’avait Wagner d’un opéra comique création artistique. Selon Rudolf Kempe que musique pendant la moitié de sa vie. Tel fut le chœur qui représente la population de la populaire d’exécution facile fut débordée par Goodall assista dans la préparation de l’œuvre à secret qui ouvrit la porte à l’épanouissement ville de Nuremberg au seizième siècle: la une structure et un sujet bien plus ambitieux Covent Garden en 1963, tout mène à la grand du talent d’une génération de wagnériens congrégation de l’église Sainte-Catherine dans et profond. Quand l’œuvre fut achevée et explosion du chœur “Wach’ auf” (“Réveillez- britanniques. Alberto Remedios, par exemple, l’Acte I, le voisinage en émoi dans l’Acte II et exécutée à Munich en 1868, Wagner écrivit vous!”) lorsque Hans Sachs qui est sur le qui s’était montré assez inexpérimenté dans son surtout, la grande foule réunie dans la prairie au roi Louis de Bavière: “Il est impossible que point de prononcer le discours d’ouverture interprétation de Walther von der Vogelweide où a lieu le festival sur les rives du Pegnitz dans vous n’ayez pas perçu sous le pittoresque de du concours de chant est surpris par la dans l’ancienne production de Tannhäuser l’Acte III. Le poème de Wagner magnifie peut- l’humour populaire, la profonde mélancolie, foule qui d’une même voix chante le poème apprit non seulement les notes de Walther von être le “saint art allemand”, mais son modèle la plainte, le cri de détresse de la poésie d’espérance “Wach’ auf, es nahet gen den Stolzing, mais aussi la manière de les chanter fut l’expérience du drame grec antique. enchaînée, et sa réincarnation, sa renaissance, Tag” qu’il a écrit trente-sept ans auparavant. tout en douceur, comme un poète. Pour que la réalisation de pareil idéal son irrésistible magie qui l’emporte sur le Tout le théâtre en frissonnait. Georg Solti qui L’autre condition vitale, un secret perdu à soit une réussite, rassembler un éventail commun et l’ordinaire.” dirigea une nouvelle production à Covent présent, fut la nature même de la compagnie d’artistes invités éminents ne suffit pas. Il Directeurs et chefs d’orchestre ont interprété Garden un an seulement après Goodall au du Sadler’s Wells. Les Maîtres chanteurs est est indispensable de disposer d’un groupe la balance entre ces éléments de différentes Sadler’s Wells réussit à séduire surtout en un opéra d’ensemble, mais pas au sens où le de personnes qui ont vécu ensemble assez manières. Les horreurs de l’Allemagne nazie évoquant la magie de la nuit de la Saint-Jean sont les autres opéras de Wagner. En effet, longtemps pour connaître intimement les ont provoqué à notre époque des réactions dans l’Acte II quand Sachs rêve sous le sureau l’impulsion quant au projet de s’atteler à ce forces et les faiblesses de chacun. Il faut une virulentes bien compréhensibles à tout et chante dans son “Fliedermonolog” le lien que le compositeur appelait “un opéra comique compagnie comme celles qui se sont formées hommage rendu à l’art nationaliste. Peut-être subtil qui unit l’homme à la nature. Joseph populaire” fut donnée par l’impossibilité et qui existent encore dans certaines régions est-il donc plus fécond de prêter attention à Keilberth, directeur musical de l’Opéra d’État d’assurer la distribution des rôles de Tristan d’Allemagne et d’Europe orientale, mais qui certaines opinions émises quant à l’essence de Bavière à Munich pendant son âge d’or dans et Isolde et donc d’exécuter cet opéra. “Cette se font de plus en plus rares sur le marché du même de l’opéra. les années soixante, estimait que le cœur de fois”, dit-il avec fierté à son éditeur, “je n’aurai travail mondialisé d’aujourd’hui. Dans les Hans Knappertsbusch, le doyen des chefs l’opéra était le prélude à l’Acte III qui sonde besoin ni d’un fort ténor ni d’une grande années soixante, le Sadler’s Wells n’avait pas de d’orchestre de l’ancienne école que Goodall les profondeurs de la mélancolie de Sachs et soprano dramatique”. Bien sûr, le caractère Maîtres chanteurs ensevelis dans son sol comme admirait tout particulièrement, estimait que mène à son “Wahnmonolog” qu’imprègne un

46 47 pessimisme à la Schopenhauer induit par la la maturité de Wagner étaient plus faciles à en récompense au maître qui sera vainqueur du plus noble, s’éloignant ainsi des sentiers folie humaine. comprendre. Le sujet du Ring était la nature, concours de chant qui aura lieu le lendemain. décadents de la tradition. Ces grands moments sont tous présents et celui de Parsifal, la compassion. Pour lui, La nourrice d’Eva, Magdalene, aime David, le dans Les Maîtres chanteurs de Goodall, mais je Les Maîtres chanteurs faisaient alors partie du jeune apprenti de Hans Sachs, le cordonnier, Acte II pense que pour lui le cœur même de l’œuvre, passé déjà et il ne voulait plus diriger l’œuvre. et en quittant l’église avec Eva, elle dit à David Une rue à Nuremberg, et les maisons de Hans et l’épisode où la passion qu’il y insuffle atteint L’un ou l’autre passage a certes été mieux d’expliquer à Walther les règles complexes Sachs et Veit Pogner son paroxysme, est la section commençant par chanté ou exécuté par l’orchestre et le sera qu’il faut observer pour ce chant de maîtrise 4 Prélude. 5 C’est la nuit de la Saint-Jean “O Sachs, mein Freund” (“Oh Sachs, mon dans le futur, mais je pense que Goodall afin qu’Eva puisse éventuellement conquérir le et tandis que David et les autres apprentis ami”) quand Eva, surprise d’abord par Walther sentit intuitivement qu’il était impossible cœur de l’homme qu’elle aime. ferment les volets, Magdalene vient demander dont elle entend le chant en avant-première, que renaisse un jour la générosité qui animait 7 – 10 Les Maîtres chanteurs arrivent. Il y des nouvelles de l’épreuve préliminaire de se tourne vers Sachs plutôt pour exprimer le Sadler’s Wells et sa compagnie dans les a parmi eux le secrétaire municipal tatillon et Walther. Elle est déçue d’apprendre qu’il n’a qu’elle sait qu’il a sacrifié ses sentiments pour dernières années. pédant, Sixtus Beckmesser, qui lui aussi espère pas été jugé admissible au concours. Hans elle en faveur du jeune homme. L’orchestre de obtenir la main d’Eva. 11 Il est ravi d’avoir été Sachs retourne dans son magasin, congédie © 2008 Nicholas Payne Goodall quand il s’envole et s’apaise est comme désigné comme “marqueur” et d’avoir donc David pour la nuit et se met au travail afin baigné de larmes, des larmes qui expriment pour tâche de noter, lorsque Walther chantera de terminer une paire de chaussures pour à la fois la joie suprême et la tristesse non Synopsis pour l’épreuve préliminaire, toutes ses erreurs. Beckmesser. partagée. Goodall et son Sachs, Norman Bailey, 6 – 9 Entre temps Pogner et Eva ont aussi comprirent les tourments qui consumaient le regagné leur logis, en face de la maison de Compact disc one Compact disc two cœur du cordonnier, cet homme d’âge mûr Sachs. C’est après que son père est rentré dont la générosité eut raison. 1 Prélude 1 Il perçoit aussitôt que le jeune chevalier qu’Eva apprend par Magdalene l’échec Une dizaine d’années après les Maîtres sera un très dangereux rival en amour, 2 et le de Walther; Magdalene lui dit aussi que chanteurs du Sadler’s Wells, j’appris à connaître Acte I rôle qu’il joue dans le refus de la candidature Beckmesser va lui chanter une sérénade. Il Goodall lorsque nous collaborâmes à sa L’intérieur de l’église Sainte-Catherine à de Walther est important. 3 L’assemblée est alors convenu que Magdalene revêtira les première production de Tristan et Isolde au Nuremberg se disperse dans la confusion et seul Hans habits d’Eva et prendra sa place à la fenêtre. Welsh National Opera. M’échinant à écrire la 2 – 6 À la fin du service religieux de l’après- Sachs perçoit la beauté et le génie du chant 10 Walther vient trouver Eva et comme il sait notice du programme, je lui demandai quel midi, un jeune chevalier, Walther von Stolzing, de Walther que tous les autres Maîtres ont qu’il ne peut plus espérer obtenir sa main était le sujet de cet opéra, et il avoua qu’il réussit à adresser la parole à Eva dont il est rejeté d’emblée. Il voit que le jeune homme est comme Maître chanteur, il décide de fuir n’avait pas encore pénétré les profondeurs de tombé amoureux. Il apprend que le père d’Eva, capable, avec une aide adéquate, de mener l’art avec elle pendant la soirée. Avant que leur l’œuvre. Il pensait que les autres opéras de Veit Pogner, l’orfèvre, a offert la main de sa fille des Maîtres chanteurs vers un idéal nouveau, plan (dont Sachs a eu vent à leur insu) puisse

48 49 être mis à exécution, les amants entendent un son texte devant son maître. 3 Après son d’une inspiration soudaine, entonne la dernière à Vienne, puis a passé les premières années bruit de pas qui s’approchent et sont obligés de départ, Sachs réfléchit avec gravité à la folie strophe de son chant. de sa carrière à chanter en Autriche et en se cacher. Les pas ne sont autres que ceux de humaine et aux incidents de la nuit précédente. Allemagne. Il est ensuite revenu au Royaume- Beckmesser, l’importun. 11 Alors qu’il entonne 4 – 5 Walther apparaît et raconte à Sachs Uni où il s’est produit avec toutes les grandes Compact disc four sa sérénade, 12 Sachs qui travaille à son établi le rêve merveilleux qu’il vient de faire. Le compagnies d’opéra. Salué comme l’un des commence à chanter une chanson bouffonne. cordonnier l’engage à le lui chanter comme si 1 – 3 Magdalene et David surgissent, et après plus remarquables chanteurs wagnériens de Ceci ne fait pas l’affaire de Beckmesser qui c’était un chant de maîtrise pendant qu’il se que Sachs a officiellement nommé l’apprenti sa génération, son nom est particulièrement invite Sachs à écouter son chant et à en faire la souvient encore de tous les détails. 6 Tandis compagnon, les cinq voix s’unissent pour associé au rôle titre de Der fliegende Holländer critique pour qu’il puisse corriger toute erreur que Walther chante, Sachs note les paroles et chanter un quintette inspiré de la mélodie du et à celui de Hans Sachs dans Die Meistersinger avant le concours du lendemain. 13 Sachs lui donne quelques conseils, percevant que c’est chant de Walther. von Nürnberg. Il a également chanté le accepte; devenu “marqueur”, il poursuit son sans aucun doute le chant qui sera primé lors 4 – 8 ���������������������������������La scène change et c’est dans une Landgrave (Tannhäuser) à l’Opera North, travail et frappe sur l’enclume à un rythme de du concours. Sachs et Walther disparaissent grande prairie sur les rives du Pegnitz que sont Wotan/le Voyageur et Gunther à l’English plus en plus rapide pendant que Beckmesser pour aller revêtir leur habit de cérémonie. assemblées les corporations pour le festival. National Opera, où en sa qualité de member chante. 7 Interlude. 9 Beckmesser est le premier à chanter, mais de la compagnie il a par ailleurs incarné les Le bruit réveille David qui s’en prend sans 8 Beckmesser, tout fier encore de sa victoire comme il n’a pas été capable de mémoriser rôles de Pizzaro (Leonore de Beethoven), le pitié à l’auteur de la sérénade. 14 L’incident la veille au soir, entre et trouve par hasard le son texte parfaitement, il se couvre de ridicule. Comte de Luna (Il trovatore), Alfio (Cavalleria ameute bientôt tout le voisinage qui se joint papier sur lequel Sachs vient de griffonner les Furieux et honteux, il prend la fuite, raillé rusticana), Scarpia (Tosca), le Père (Hänsel und à la bagarre ne sachant quel en est la cause. paroles du chant de Walther. Pensant que Sachs par la foule toute entière. 10 Sachs invite Gretel ), le Prince Gremine (Eugène Onéguine), Soudain la trompe du Veilleur de nuit retentit, lui-même a décidé de participer au concours, il alors Walther à s’avancer en temps qu’auteur Kutuzov (Guerre et Paix de Prokofiev), et le ramenant le calme, et Sachs héberge Walther. vole le papier, mais le cordonnier rentre et s’en véritable du chant. 11 – 12 ������������������Son interprétation Forestier (Le Petit Renard rusé ). Au Royal Les portes se ferment et le Veilleur, somnolent, aperçoit. 9 Comprenant ce qui se passe, Sachs passionnée et authentique va droit au cœur de Opera de Covent Garden, Norman Bailey arpente la rue, vide maintenant. donne le texte à Beckmesser et lui dit qu’il peut l’assemblée. Eva couronne le vainqueur 13 et s’est produit dans Balstrode (Peter Grimes, le chanter lui-même s’il le souhaite. Beckmesser l’opéra se termine par un hymne de joie chanté également en tournée à Palerme), Germont se retire triomphant, pensant qu’avec un chant par le chœur en hommage à Hans Sachs. (La traviata), Ford (Falstaff ), Wolfram Compact disc three de la main du grand Sachs il est certain de (Tannhäuser), Kurwenal (Tristan und Isolde), Traduction: Marie-Françoise de Meeûs Acte III gagner le concours. Donner (Das Rheingold ), Wotan (Die Walküre), Dans l’atelier de Sachs le lendemain matin 10 Eva apparaît sous prétexte que ses Klingsor et Amfortas (Parsifal ), Jochanaan 1 Prélude. 2 David, paré de ses plus beaux nouveaux souliers lui font mal. 11 – 13 ��������Survient Né en Afrique du Sud, la basse-baryton (Salome), et le Maître de musique (Ariadne atours pour le Festival de la Saint-Jean, répète alors Walther qui, voyant Eva et sous le coup Norman Bailey (Hans Sachs) a fait ses études auf Naxos). Récemment, il a également chanté

50 51 Oroveso (Norma), Banquo (Macbeth), le Roi (Ariadne auf Naxos). Il a fait ses débuts au Gerhard Hüsch à Munich et à Londres, et a Vieux Pêcheur dans la première mondiale (Aida), le Docteur (Wozzeck) et Schigolch Royal Opera de Covent Garden dans le rôle consacré sa carrière au récital et à l’opéra. Il de The Violins of Saint-Jacques de Malcolm (Lulu). Sa carrière internationale l’a conduit à de Dimitri (Boris Godounov), et a chanté par a chanté avec toutes les grandes compagnies Williamson au Sadler’s Wells Theatre. Il a reçu se produire sur les grandes scenes lyriques et la suite Florestan, Enée (Les Troyens), Max, d’opéra de Grande-Bretagne, et s’est produit en de nombreuses distinctions, notamment celle dans les festivals de toute l’Europe et des Etats- Erik, Siegfried, Bacchus et Mark Europe à l’Opéra d’Etat de Bavière, au Theater d’officier de l’ordre de l’empire britannique Unis, incluant plusieurs saisons à Bayreuth. Il (The Midsummer Marriage de Sir Michael an der Wien, au Theater am Gärtnerplatz, et (OBE) en 1987. a collaboré avec des chefs aussi importants que Tippett). Il s’est également produit au Welsh a chanté pendant trois saisons à l’Opéra des Sir Colin Davis, Sir Georg Solti, James Levine, National Opera et au Scottish Opera, et a passé Pays-Bas. En Amérique du Nord et du Sud, il Né près de Nottingham, le ténor John Carlo Maria Giulini, Wolfgang Sawallisch, deux ans à l’Opéra de Francfort. Il a fait ses a chanté dans de nombreuses salles lyriques, Brecknock (Zorn) fit ses études à la Claudio Abbado et Daniel Barenboim. Pour débuts au Metropolitan Opera de New York notamment au Teatro Colón de Buenos Birmingham School of Music et avec Denis Chandos, Norman Bailey a enregistré le rôle dans le rôle de Bacchus, et a également chanté Aires, au Metropolitan Opera de New York Dowling. Il devint membre du Sadler’s Wells titre dans King Priam de Sir Michael Tippett. à San Francisco (dans les rôles de Dimitri et et à l’Opéra de San Diego. Parmi les roles Opera (plus tard English National Opera) où de Don Carlos), à Los Angeles, San Diego importants qu’il a interprétés figurent le il chanta de nombreux rôles, notamment Don L’un des plus grands ténors héroïques et Seattle (le rôle de Siegfried), à Boston (le Dr Bartolo, Rigoletto, Fra Melitone (La forza Ottavio, Belmonte, Ferrando, le Comte Ory, britanniques de sa génération, Alberto rôle de Faust de Gounod) et au Teatro Colón del destino), Sharpless, Tonio (Pagliacci), Almaviva (Il barbiere di Siviglia), Alfredo, des Remedios (Walther) a fait ses études musicales de Buenos Aires (le rôle de Peter Grimes). Papageno, Alberich, Beckmesser, Faninal Grieux (Manon), Tamino, le Duc (Eine Nacht à Liverpool avec Edwin Francis, et au Royal Avec Joan Sutherland, Alberto Remedios a (Der Rosenkavalier), Krušina (La Fiancée in Venedig de Johann Strauss II) et Werther. Il College of Music de Londres. Il a fait ses effectué des tournées en Australie interprétant vendue) et Sir Robert Cecil (Gloriana), ainsi se produisit également dans L’italiana in Algeri, débuts au Sadler’s Wells Opera (plus tard les roles d’Edgar (Lucia di Lammermoor), que de nombreux rôles dans des oeuvres Die lustige Witwe et La gazza ladra. Au Royal rebaptisé English National Opera) dans le rôle Alfredo, Lenski et Faust; il est souvent revenu de Gilbert et Sullivan et d’Offenbach. Il a Opera de Covent Garden à Londres, il a chanté de Tinca (Il tabarro). Parmi les nombreux rôles dans ce pays, chantant les rôles de Florestan, participé à plusieurs premières anglaises, Fenton (Falstaff ), Rinuccio (Gianni Schicchi), qu’il a chantés avec cette compagnie, on citera Siegmund, Radames et Otello avec l’Opera incluant Orfeo ed Euridice de Haydn (dans Iopas (Les Troyens) et Gennaro (Lucrezia Don Ottavio, Tamino, Max (Der Freischütz), Australia, et se produisant également à le rôle de Creonte), La pietra del paragone Borgia). Il s’est également produit au Welsh Alfredo, Faust (dans Faust de Gounod et dans Melbourne, Adelaïde et Brisbane. Alberto de Rossini (dans le role de Pacuvio), Guerre National Opera. A l’étranger, il a chanté dans La Damnation de Faust de Berlioz), Des Grieux Remedios a été fait commandeur de l’ordre de et Paix (dans le rôle de Napoléon, avec Don Giovanni au Metropolitan Opera de (Manon), Samson (Samson et Dalila), Lenski, l’empire britannique (CBE) en 1981. l’English National Opera) et Der Besuch der New York, Ottawa et Buenos Aires; dans Erik (Der fliegende Holländer), Lohengrin, alten Dame de Gottfried von Einem (dans Die Zauberflöte à New York (Metropolitan Walther (Die Meistersinger von Nürnberg), Le baryton anglais Derek Hammond-Stroud le rôle du Maître d’école, à Glyndebourne). Opera), New Orleans et Ottawa; dans Il Tristan, Siegmund, Siegfried et Bacchus (Beckmesser) a étudié avec Elena Gerhardt et Derek Hammond-Stroud a créé le rôle du barbiere di Siviglia à San Francisco, Miami

52 53 et Vienne; dans La Cenerentola à l’Opéra Hunding et Hagen dans les productions du Sieglinde, Brünnhilde et Gutrune. Margaret Le chef d’orchestre anglais Reginald Goodall de Paris, Buenos Aires et Cape Town; dans Ring données à l’Opéra de Seattle. Curphey a pris part à la creation anglaise de naquit en 1901 et étudia la direction Werther à Rouen, Buenos Aires et San Diego; Les rôles les plus notables de Noel Mangin Lucio Silla de Mozart au Camden Theatre, d’orchestre avec Malcolm Sargent et Constant dans La traviata à Cape Town et Ottawa; furent Don Pasquale, Ochs et Osmin. Il fut et s’est produite dans plusieurs salles lyriques Lambert au Royal College of Music de dans Les Pêcheurs de perles à Rouen et Paris, décoré de l’Ordre de l’Empire britannique d’Europe. Elle a remporté une médaille au Londres. De 1929 à 1936, il fut organiste et dans Le Comte Ory à Ottawa, Rigoletto (OBE) en 1981. Noel Mangin est mort en concours international de Sofia en Bulgarie, et et chef de choeur à St Alban the Martyr, à Houston et Falstaff à Miami. Parmi ses 1995. a mené une importante carrière de concertiste. Holborn (Londres), où il dirigea les premières enregistrements, on citera Robinson Crusoë anglaises d’oeuvres chorales de Bruckner, d’Offenbach pour Opera Rara et La traviata Née à Douglas sur l’Ile de Man, la soprano Né en Angleterre dans le Surrey, Stafford Stravinski et Szymanowski, ainsi que des pour Chandos et la Peter Moores Foundation. lyrique Margaret Curphey (Eva) a fait ses Dean (le Veilleur de nuit) a étudié avec oeuvres de jeunesse de Britten. Pendant la fin etudes musicales à la Birmingham School of Gordon Clinton au Royal College of Music des années trente, il fut l’assistant d’Albert Noel Mangin (Pogner) naquit à Wellington en Music. Elle a ensuite effectué des tournées de Londres et avec Howell Glynne et Otakar Coates et de Malcolm Sargent. Au début de Nouvelle-Zélande, et chanta son premier solo avec “Opera for All” et a passé deux ans dans Kraus. Il a fait ses débuts à Glyndebourne la Seconde Guerre mondiale, il devint le chef comme garçon soprano à l’âge de huit ans. Il le choeur du Glyndebourne Festival avant de dans L’incoronazione di Poppea. Au Sadler’s du Wessex Philharmonic Orchestra basé à fit ses débuts de ténor à l’âge de vingt-et-un devenir membre du Sadler’s Wells Opera (plus Wells il a interprété entre autres Daland, Bournemouth. ans après avoir étudié avec Ernest Drake. Il tard rebaptisé English National Opera), où Sparafucile, Coline, Pluto (Orfeo de En sa qualité de membre du Sadler’s Wells chanta des rôles de ténor pendant trois ans, elle a fait ses débuts dans le rôle de Micaela Monteverdi), et au Royal Opera de Covent Opera (plus tard rebaptisé English National puis sa voix changeant de registre, il reparut (Carmen), puis a continué avec La Musica Garden Masetto, l’Ancien (The Midsummer Opera) Reginald Goodall dirigea en juin dix-huit mois plus tard comme basse-baryton, (Orfeo de Monteverdi), la Comtesse (Le nozze Marriage), Publius (La clemenza di Tito), 1945 la première représentation de Peter chantant Germont le père (La traviata) et di Figaro), Pamina, Ninetta (La gazza ladra), Don Alfonso, Bottom et Gessler (Guillaume Grimes au Sadler’s Wells Theatre récemment Marcello (La bohème). L’année suivante, sa voix Mary Stuart (Maria Stuarda de Donizetti), Tell). Il a fait ses débuts internationaux réouvert. L’année suivante, il partagea avec se fixa dans le registre de basse, et il chanta le Violetta, Elisabeth de Valois (Don Carlos), avec le rôle de Leporello en Allemagne, et Ernest Ansermet les premières représentations rôle de Sarastro (Die Zauberflöte). Il vint à Paris Santuzza (Cavalleria rusticana), Mimì et s’est spécialisé dans répertoire de basse et de The Rape of Lucretia de Britten pendant étudier avec Dominique Modesti, et à Londres Musetta dans La bohème, Marguerite (La de baryton des opéras de Mozart. Stafford la première saison d’après-guerre du Festival avec Joseph Hislop. De 1963 à 1967, il Damnation de Faust de Berlioz), Ellen Orford Dean est particulièrement réputé pour son de Glyndebourne. Peu après, il devint chanta au Sadler’s Wells Opera. Il se produisit (Peter Grimes), ainsi que de nombreux autres interprétation de Leporello (qu’il a chanté membre du Royal Opera de Covent Garden également au Staastoper de Hambourg et rôles. Ses célèbres interprétations wagnériennes à Londres, Stuttgart et San Francisco) et de où pendant vingt-cinq ans il allait diriger au Victoria State Opera. A partir de 1979, avec cette compagnie incluent Elsa (Lohengrin), Figaro (qu’il a chanté au Scottish Opera et au un repertoire allant de Verdi (Il trovatore) à il chanta régulièrement les rôles de Fafner, Eva (Die Meistersinger von Nürnberg), Metropolitan Opera de New York). Walton (Troilus and Cressida).

54 55 Reginald Goodall n’eut que rarement entre 1970 et 1973, et la première à être la possibilité de diriger les opéras du donnée en langue anglaise depuis plusieurs compositeur qu’il admirait le plus, Richard années. Il dirigea par la suite Das Rheingold Wagner. Cette omission fut rectifiée en et Die Walküre au Royal Opera de Covent 1968, non pas par le Royal Opera de Covent Garden, Tristan und Isolde et Die Walküre au Garden mais par le Sadler’s Wells Opera qui Welsh National Opera, Tristan und Isolde et l’invita à diriger une nouvelle production Parsifal à l’English National Opera. Reginald de Die Meistersinger von Nürnberg. Ce fut Goodall devint commandeur de l’ordre de un tel succès qu’il fut réinvité à diriger une l’empire britannique (CBE) en 1975, et fut production maintenant légendaire du cycle anobli en 1985. Il mourut en 1990 à l’âge de complet de Der Ring des Nibelungen, montée quatre-vingt-huit ans.

Bust of Sir Reginald Goodall at the Royal Opera House

56 57 Norman bailey with Margaret Curhpey (opposite) Uno di questi direttori era Edmund Tracey, revival del Tannhäuser nel gennaio 1961, I maestri cantori di Sadler’s Wells ex critico musicale divenuto Direttore letterario rovinato dalla debolezza degli archi e da un o Drammaturgo, responsabile delle traduzioni allestimento brutto e superato. Sulla base di Il giorno precedente la prima dei Maestri 96 elementi e il corpo di ballo riuniva 24 per questa compagnia di lingua inglese. Tracey questa prova sicuramente fu necessario un cantori di Norimberga in un nuovo allestimento ballerini. Per la precisione, si trattava di due aveva fatto parte di un piccolo gruppo di critici atto di fede da parte di Arlen, di Tracey e dell’Opera di Sadler’s Wells, il Direttore compagnie, quella di Sadler’s e quella di Wells, influenti, che comprendeva Andrew Porter, degli altri direttori, che comprendevano Glen generale della compagnia, Stephen Arlen responsabili, insieme, della maggior parte delle David Cairns e Peter Heyworth, sostenitori Byam Shaw (produzione), Edward Renton pronunziò un discorso in occasione del rappresentazioni itineranti di opere liriche in dello stile di direzione di Reginald Goodall (amministrazione musicale) e John Snape primo Corso di amministrazione artistica Inghilterra. Alla Welsh National Opera esisteva nel repertorio wagneriano per lo più in base (finanza), per affidare a Goodall l’impegnativo sponsorizzato dall’Arts Council presso il ancora solo un coro di dilettanti e mancava alle quattro leggendarie rappresentazioni di incarico del primo allestimento dei Maestri London Polytechnic di Mortimer Street. un’orchestra residente. Opera North sarebbe Die Walküre nella tournée del 1954 del Covent cantori di Norimberga del dopoguerra per la Probabilmente sentiva questo incarico come stata fondata un decennio dopo. Così, il Garden. Goodall era entrato alla Sadler’s Wells compagnia. un dovere e, per quanto aperto e accogliente, personale delle due compagnie di Sadler’s e di Opera durante la Seconda Guerra mondiale Ma fu determinante la quantità di tempo a aveva l’aria ansiosa. Io, che facevo parte del Wells, guidato da due diversi direttori musicali, e aveva diretto la prima di Peter Grimes alla disposizione – non solo il periodo delle prove contingente iniziale di studenti per l’anno Bryan Balkwill e Mario Bernardi, si alternava riapertura del teatro nel 1945, ma poco dopo si tra dicembre 1967 e gennaio 1968 quando le 1967/68, gli chiesi cosa potevamo attenderci tra Londra e le altre regioni. era trasferito al Covent Garden come direttore compagnie non erano impegnate in tournée – dai suoi Maestri cantori. La risposta fu: Ogni anno, durante il periodo natalizio e dell’organico. Non essendo in piena sintonia e soprattutto le ore destinate all’indispensabile “O sarà una catastrofe o sarà il più grande quello appena successivo, la maggior parte dei con i normali revival del repertorio italiano e preparazione musicale preliminare in cui successo nella storia di Sadler’s Wells”. La sera teatri era occupata dalle rappresentazioni delle francese, alla fine degli anni Cinquanta i suoi emergevano Goodall eccelleva per conoscenza, successiva, il 31 gennaio 1968, in piedi nei tradizionali “pantomime” e nel 1967/68 la incarichi di direzione erano diminuiti, per comprensione e ostinazione. Fatta eccezione posti più economici del loggione, accanto a regolare tappa invernale presso lo Shakespeare quanto fosse sempre apprezzato come istruttore per il personaggio di Hans Sachs, affidato a un altro studente, Brian McMaster, per oltre Memorial Theatre di Stratford non fu più dei cantanti. Comunque, aveva diretto di tanto Norman Bailey, un cantante britannico esperto cinque ore, fui testimone di un evento che possibile. Così Arlen e i suoi direttori decisero in tanto rappresentazioni dei Meistersinger che lavorava in Germania, il cast era composto avrebbe fatto storia. di riunire entrambe le compagnie per un al Covent Garden fino al 1960, ma il di elementi dell’organico e gli interpreti All’epoca il teatro di Sadler’s Wells ospitava importante progetto congiunto, sfruttando il suo metodo risentiva delle stranezze affrontavano i ruoli per la prima volta. Così una compagnia lirica consistente: più di 40 periodo relativamente lungo disponibile per le nell’assegnazione delle parti e dello scarso erano disposti a lavorare a lungo, con personale cantanti solisti con contratti a tempo pieno; prove solo in questo momento della stagione, tempo destinato alle prove prevalenti musicale solidale guidato da un direttore che un’orchestra di oltre 110 musicisti più altro grazie alla pausa nel ritmo incessante della all’epoca. La prima opera wagneriana conosceva la musica da una vita. Questo fu il personale musicale. Il coro era formato da tournée. diretta da Goodall per Sadler’s Wells fu un segreto fondamentale che mise in luce i talenti

60 61 di una generazione di cantanti wagneriani congregazione della chiesa di Santa Caterina abbiate percepito, sotto le superfici pittoresche intoni il poema di speranza “Wach’ auf, es britannici. Per esempio, Alberto Remedios, nell’Atto I, i vicini rissosi dell’Atto II e, di umorismo popolare dell’opera, la profonda nahet gen den Tag” una sua composizione che era stato un Walther von der Vogelweide soprattutto, la grande comunità nel prato della melanconia, il lamento, il grido di dolore di giovanile risalente a trentasette anni prima. In piuttosto rozzo nel precedente allestimento festa accanto al fiume Pegnitz nell’Atto III. Il una poesia in catene, e la sua reincarnazione, teatro l’effetto fu elettrizzante. Georg Solti, del Tannhäuser, oltre alle note di Walther von poema di Wagner esalta sì la “sacra arte tedesca”, la rinascita, l’irresistibile potenza magica che che diresse un nuovo allestimento al Covent Stolzing, imparò anche a interpretarle con ma il suo modello è l’esperienza comune del acquista supremazia sulle cose comuni e basse”. Garden solo un anno dopo quello di Goodall poetica dolcezza. dramma dell’antica Grecia. I registi e direttori d’orchestra interpretano a Sadler’s Wells, evocò con il massimo fascino L’altra condizione indispensabile, un Per realizzare questo ideale in maniera l’equilibrio tra questi elementi in maniera la magia della vigilia di San Giovanni nell’atto segreto ormai perduto, stava nella natura della convincente non basta riunire alcuni prestigiosi diversa. Dagli orrori della Germania nazista II, quando Sachs riflette sul delicato intreccio compagnia di Sadler’s Wells. I Maestri cantori artisti ospiti. È necessario un gruppo di sono scaturite reazioni comprensibilmente forti di umanità e natura nel suo “Fliedermonolog”, è un’opera d’insieme diversa dalle altre del persone che abbiano vissuto abbastanza nei confronti dell’omaggio all’arte nazionalista. che prende spunto dal profumo del lillà. repertorio di Wagner. L’impulso di impostarla insieme da conoscere intimamente a vicenda i Quindi forse è più produttivo incentrare Per Joseph Keilberth, direttore musicale come “opera comica popolare”, secondo la proprio punti di forza e le proprie debolezze. l’attenzione sui giudizi musicali a proposito dell’Opera di Monaco durante il periodo definizione del compositore, era scaturito Bisogna avere una compagnia che è cresciuta dell’identificazione del nucleo dell’opera. aureo negli anni Sessanta, il cuore dell’opera dall’impossibilità di affidare in precedenza i ed esiste ancora in alcune parti della Germania Secondo Hans Knappertsbusch, decano stava nel preludio dell’atto III, che sonda le ruoli di protagonisti di Tristano e Isolde, per e dell’Europa orientale, ma che si fa sempre più dei direttori tedeschi della vecchia scuola, profondità della malinconia di Sachs e conduce cui l’opera non poté essere rappresentata. rara nel mercato globale del lavoro odierno. particolarmente ammirati da Goodall, il vero al “Wahnmonolog” con il suo pessimismo di “Questa volta”, disse il compositore al Negli anni Sessanta, Sadler’s Wells non aveva punto culminante dell’opera era il quintetto stampo schopenhaueriano sull’umana follia. proprio editore, “non avrò bisogno né di dei Maestri cantori radicati nel territorio, a che conclude la prima scena del terzo atto. È il La lettura dei Maestri cantori di Goodall si un sedicente primo tenore né di un grande differenza dei teatri tedeschi dell’epoca; ma la momento di quiete dove i cinque personaggi rivela all’altezza della situazione in tutti questi soprano tragico”. Certo, il personaggio terra era già dissodata, pronta da arare. principali si combinano in armonia per momenti cruciali, ma io ritengo che per lui il centrale di Hans Sachs, eroe “gioviale-poetico” Goodall e il suo gruppo avevano davanti dedicare la nuova opera d’arte. Per Rudolf nocciolo della questione e la sua espressione dell’opera, è impegnativo, ma è solo uno dei un compito enorme. L’ideale wagneriano di Kempe, con cui Goodall collaborò durante la più appassionata si trovasse nella sezione dodici maestri cantori titolari (tredici, se si un’opera popolare comica facile da eseguire era preparazione dell’opera al Covent Garden nel che inizia con “O Sachs, mein Freund,” (“O conta anche l’assente Niklaus Vogel). Ogni superato da una struttura e da un argomento 1963, tutto portava verso la grande esplosione Sachs! Amico mio!”) quando Eva, sorpresa maestro ha il suo apprendista e, oltre a questi molto più ambizioso e profondo. All’epoca del corale di “Wach’ auf” (“Svegliatevi!”), quando dall’anteprima della canzone premiata interpreti, si delinea l’indispensabile presenza suo completamento e della rappresentazione a Hans Sachs, sul punto di pronunciare il suo di Walther, si rivolge invece a Sachs per di un grande coro che rappresenta il popolo Monaco nel 1868, il compositore poté scrivere discorso di presentazione della gara di canto, comunicargli che ha indovinato il sacrificio dei della Norimberga del sedicesimo secolo: la a re Ludwig di Baviera: “È impossibile che non è sorpreso dal fatto che l’intera comunità suoi sentimenti personali a favore del giovane.

62 63 L’ascesa e la discesa orchestrale di Goodall sono Sinossi gli permette di segnare tutti gli errori contro le 6 – 9 Nel frattempo anche Pogner ed Eva intrise di lacrime che esprimono gioia suprema regole ufficiali. sono ritornati nella loro casa, che si trova e dolore non ricambiati. Goodall e il suo dirimpetto a quella di Hans Sachs. Quando Compact disc one Sachs, Norman Bailey, compresero l’ardente suo padre è entrato, Eva viene informata Compact disc two esasperazione del cuore del non più giovane 1 Preludio da Magdalene dell’insuccesso di Walther e calzolaio e la sua suprema generosità. 1 Ben presto vede che il giovane cavaliere è dell’imminente arrivo di Beckmesser che A circa un decennio di distanza dai Atto I un formidabile rivale in amore 2 e fa di tutto desidera farle una serenata. Le due donne Mastersingers di Sadler’s Wells, io imparai a L’interno della chiesa di S. Caterina a perché venga respinto come candidato per la decidono che Magdalene indosserà gli abiti conoscere Goodall quando collaborammo al Norimberga gara. 3 L’incontro termina tra la confusione: di Eva e prenderà il posto dell’amica alla suo primo allestimento del Tristan und Isolde 2 – 6 Al termine della funzione pomeridiana di fronte all’ostilità di tutti gli altri Maestri, finestra. 10 Arriva Walther, venuto a cercare alla Welsh National Opera. Trovandomi in un giovane cavaliere, Walther von Stolzing, si solo Hans Sachs si accorge della bellezza e Eva; avendo perso ogni speranza di conquistare difficoltà nello scrivere le note del programma, incontra con Eva, della quale si è innamorato, del genio del canto di Walther e intuisce che la sua mano come Maestro cantore, vuole gli chiesi di cosa parlasse l’opera e lui mi e viene a sapere che il padre di lei, l’orefice Veit il giovane è dotato del potere di allontanare fuggire con lei quella sera stessa. Ma prima confessò che non era ancora riuscito a Pogner, ha offerto in premio la sua mano al l’arte dei Maestri cantori dai sentieri che possano mettere in atto il loro piano (che penetrarne il cuore tenebroso. Per lui le altre maestro cantore che vincerà la gara di canto decadenti della tradizione, verso un nuovo e è stato ascoltato da Sachs), gli innamorati opere mature di Wagner erano più facili da prevista per il giorno successivo. Magdalene, più nobile ideale. sono costretti a nascondersi perché sentono capire: il Ring era legato alla natura, Parsifal che accompagna Eva, è innamorata di David, avvicinarsi qualcuno. Il nuovo arrivato è alla compassione. Ma i Meistersinger erano il giovane apprendista del calzolaio Hans Sachs, Atto II l’importuno Beckmesser, 11 che intona la ormai nel passato e non voleva più dirigere e mentre esce dalla chiesa con Eva, chiede a Una strada di Norimberga con una veduta delle sua serenata. 12 Sachs comincia a cantare quest’opera. David di insegnare a Walther le complicate case di Hans Sachs e Veit Pogner un motivo spensierato dal suo banco di Sicuramente questo o quel passaggio sarà regole dei Maestri cantori, per aiutare la sua 4 Preludio. 5 È la vigilia della festa di san lavoro. Irritato, Beckmesser invita Sachs ad stato cantato o eseguito meglio in passato e amica a conquistare l’uomo che veramente Giovanni: David e gli altri apprendisti stanno ascoltare la sua canzone e criticarla in modo altrettanto accadrà in futuro; ma secondo me ama. per chiudere bottega. Arriva Magdalene per da permettergli di correggere eventuali errori Goodall intuì che la generosità di spirito che 7 – 10 Arrivano i Maestri cantori, tra cui chiedere notizie della prova di Walther con i in tempo per la sua esibizione del giorno aleggiava a Sadler’s Wells e nella compagnia il segretario municipale Sixtus Beckmesser, Maestri cantori ed è delusa nel sapere che non dopo. 13 Sachs accetta e assume il ruolo di durante gli ultimi anni in quel teatro non pignolo e pedante, anche lui aspirante alla è stato ammesso nella corporazione. Hans “Marcatore”, segnalando con fragorosi colpi sarebbe mai ritornata. mano di Eva; 11 a lui viene affidato il ruolo Sachs torna nella sua bottega, licenzia David di martello gli errori con crescente regolarità. di “marcatore” quando Walther esegue la sua per la sera e si mette a lavorare per finire un Il rumore sveglia David, che prende a © 2008 Nicholas Payne prova di canto. La cosa lo rende felice perché paio di scarpe per Beckmesser. manganellate senza pietà il cantore della

64 65 serenata. 14 Il trambusto ben presto richiama vede la carta su cui Sachs ha scritto il testo scherno della folla. 10 Adesso Sachs chiede und Gretel ), il Principe Gremin (Eugene tutti i vicini che si lasciano coinvolgere nella della canzone di Walther. Pensando che lo a Walther di farsi avanti: è lui il vero autore Onegin), Kutuzov (Guerra e pace di Prokofiev) baruffa, pur non conoscendone la causa. stesso Sachs abbia deciso di partecipare alla della canzone. 11 – 12 La sua interpretazione e il Guardiaboschi (La piccola volpe astuta) tra All’improvviso risuona il corno della guardia gara, se ne impossessa, ma viene sorpreso appassionata e ispirata conquista fino in fondo gli altri ruoli. Con la Royal Opera, Covent notturna, la confusione viene sedata e Sachs dal ritorno del calzolaio. 9 Avendo intuito tutti gli ascoltatori. Il giovane viene incoronato Garden è comparso nella parte di Balstrode offre riparo a Walther nella sua casa. Le l’accaduto, Sachs offre la canzone a Beckmesser vincitore della gara da Eva 13 e l’opera si (Peter Grimes, anche in tournée a Palermo) case vengono chiuse e l’assonnata guardia e gli dà il permesso di cantarla se lo desidera. conclude con un coro esultante di lode per e di Germont (La traviata), Ford (Falstaff ), attraversa lentamente le vie deserte. Beckmesser si allontana, trionfante, certo di Hans Sachs. Wolfram (Tannhäuser), Kurwenal (Tristan avere la vittoria in tasca. und Isolde), Donner (Das Rheingold ), Wotan Traduzione: Emanuela Guastella 10 Arriva Eva con la scusa che le scarpe (Die Walküre), Klingsor e Amfortas (Parsifal ), Compact disc three nuove le fanno male. 11 – 13 Ritorna Walther Jochanaan (Salome) ed il Maestro di musica Atto III e, alla vista di Eva, erompe nell’ultima stanza Nato in South Africa, il baritono basso (Ariadne auf Naxos). Ruoli più recenti hanno La bottega di Sachs la mattina dopo della sua canzone, in un improvviso flusso di Norman Bailey (Hans Sachs) ha studiato a incluso Oroveso (Norma), Banquo (Macbeth), 1 Preludio. 2 David, vestito di tutto punto ispirazione. Vienna e durante la prima parte della sua il Re (Aida), il Dottore (Wozzeck) e Schigolch per la festa di San Giovanni, ripete i suoi versi carriera ha cantato in Austria e Germania. È (Lulu). La sua carriera internazionale lo ha al padrone. 3 Quando è uscito, Sachs medita poi ritornato nel Regno Unito dove ha cantato visto sui palcoscenici delle opere ed ai festival Compact disc four gravemente sulla follia umana e sugli eventi con tutte le compagnie d’opera più importanti. più importanti in tutta Europa e negli Stati turbolenti della sera precedente. 4 – 5 Entra 1 – 3 Arrivano Magdalene e David, che È uno dei principali cantanti di Wagner della Uniti, incluse parecchie stagioni a Bayreuth, Walther e gli racconta di aver fatto un bel sogno. viene formalmente promosso da apprendista a sua generazione, collegato particolarmente ed a collaborare con direttori quali Sir Colin Il calzolaio gli chiede di usarlo come soggetto operaio qualificato da Sachs, e le cinque voci si con la parte del personaggio principale nel Davis, Sir Georg Solti, James Levine, Carlo per la canzone da presentare alla gara, mentre ha uniscono in un quintetto basato sulla melodia Fliegende Holländer e come Hans Sachs in Maria Giulini, Wolfgang Sawallisch, Claudio ancora fresche le immagini in mente. 6 Mentre della canzone di Walther. Die Meistersinger von Nürnberg. Ha anche Abbado e Daniel Barenboim. Per Chandos ha Walther canta, Sachs scrive il testo, offrendo 4 – 8 La scena cambia e si sposta nello cantato come Landgraf in Tannhäuser con registrato la parte principale in King Priam di qualche consiglio tecnico di tanto in tanto, spazio aperto sulle rive del fiume Pegnitz, dove Opera North e Wotan/il giramondo e Gunther Sir Michael Tippett. consapevole che questa canzone indubbiamente sono riunite tutte le Corporazioni per la grande con l’English National Opera, dove come vincerà il premio. Sachs e Walther vanno a festa. 9 Il primo a cantare è Beckmesser ma, membro della compagnia ha anche cantato Alberto Remedios (Walther), tra i principali vestirsi per la festa. 7 Interludio. poiché non è riuscito a memorizzare bene nella parte di Pizarro (Leonore di Beethoven), tenori eroici inglesi della sua generazione, ha 8 Entra Beckmesser, ancora indolenzito le parole, fallisce miseramente e si allontana Conte di Luna (Il trovatore), Alfio (Cavalleria studiato a Liverpool insieme a Edwin Francis dalle percosse della sera precedente, e per caso correndo, pieno d’ira e di vergogna, tra lo rusticana), Scarpia (Tosca), il Padre (Hänsel ed al Royal College of Music, facendo la sua

66 67 prima comparsa a teatro con la Sadler’s Wells Alfredo, Lenski e Faust, e contatti stretti con a numerosi personaggi delle opere di Gilbert ha interpretato, tra l’altro, il ruolo di Fenton Opera (che più tardi diventò l’English National quel paese gli hanno permesso di fare comparse e Sullivan e di Offenbach. Ha partecipato (Falstaff ), Rinuccio (Gianni Schicchi), Iopaas Opera) nella parte di Tinca ne Il tabarro. Con nelle parti di Florestano, Siegmund, Radames e a diverse prime teatrali britanniche, tra cui (Les Troyens) e Gennaro (Lucrezia Borgia). Ha quella compagnia è comparso nei ruoli di Otello con l’Opera Australia oltre a spettacoli a quelle di Orfeo ed Euridice di Haydn (nel cantato anche con la Welsh National Opera. Don Ottavio, Tamino, Max (Der Freischütz), Melbourne, Adelaide e Brisbane. In Inghilterra, ruolo di Creonte), La pietra del paragone di All’estero, è stato impegnato, tra l’altro, nel Alfredo, Faust (nell’opera di Gounod e nella Alberto Remedios ha ricevuto l’onorificenza Rossini (Pacuvio), Guerra e Pace di Prokof Don Giovanni a New York (Metropolitan Damnation de Faust di Berlioz), Des Grieux del CBE in occasione del compleanno della ’ev (nel ruolo di Napoleone, con l’English Opera), Ottawa e Buenos Aires; in Die (Manon), Sansone (Samson et Dalila), Lenski, Regina nel 1981. National Opera) e Der Besuch der alten Zauberflöte a New York (Metropolitan Opera), Erik (Der fliegende Holländer), Lohengrin, Dame di Gottfried von Einem (nelle vesti del New Orleans e Ottawa; nel Barbiere di Siviglia Walther (Die Meistersinger von Nürnberg), Il baritono inglese Derek Hammond-Stroud Maestro a Glyndebourne). Ha creato il ruolo a San Francisco, Miami e Vienna; ne La Tristano, Siegmund, Sigfrido e Bacco (Ariadne (Beckmesser) ha studiato con Elena Gerhardt e del Vecchio pescatore nella prima mondiale Cenerentola a Parigi (Opéra), Buenos Aires e auf Naxos). Ha fatto il debutto alla Royal Gerhard Hüsch a Monaco e a Londra; la sua di The Violins of Saint-Jacques di Malcolm Città del Capo; nel Werther a Rouen, Buenos Opera, Covent Garden nella parte di Dimitri carriera lo ha portato sulle pedane del recital Williamson a Sadler’s Wells. Ha ricevuto Aires e San Diego; ne La traviata a Città del (Boris Godunov) ed è ritornato nella parte di e sulle scene del teatro lirico. Ha cantato con numerose onorificenze, tra cui un OBE nel Capo e Ottawa; in Les Pêcheurs de perles a Florestano, Enea (Les Troyens), Max, Erik, le principali compagnie liriche britanniche; 1987. Rouen e Parigi; in Le Comte Ory a Ottawa, Sigfrido, Bacco e Marco (The Midsummer in Europa è stato impegnato, tra l’altro, con nel Rigoletto a Houston e Falstaff a Miami. La Marriage di Sir Michael Tippett). Si è anche l’Opera nazionale della Baviera di Monaco, Nato nei pressi di Nottingham, il tenore sua discografia comprende Robinson Crusoë di esibito con la Welsh National Opera e la il Theater an der Wien, il Theater am John Brecknock (Zorn) ha studiato presso Offenbach per Opera Rara e La traviata per la Scottish Opera ed ha passato due anni con Gärtnerplatz, e con l’Opera dei Paesi Bassi la Birmingham School of Music e con Denis Chandos/Peter Moores Foundation. l’Opera di Francoforte. Ha fatto la sua prima per tre stagioni. Nell’America del nord e del Dowling. È entrato alla Sadler’s Wells Opera comparsa alla Metropolitan Opera, New York sud ha cantato al Teatro Colón di Buenos (successivamente divenuta English National Noel Mangin (Pogner) nasceva a Wellington, nella parte di Bacco ed è anche apparso a Aires, al Metropolitan Opera di New York Opera), dove ha interpretato numerosi ruoli, in Nuova Zelanda e già a otto anni compariva San Francisco (nella parte di Dimitri e Don e all’Opera di San Diego, tra l’altro. Tra i tra cui Don Ottavio, Belmonte, Ferrando, il in pubblico come voce bianca solista. Esordiva Carlos), a Los Angeles, San Diego e Seattle suoi ruoli principali vanno ricordati Dottor conte Ory, Almaviva (Il barbiere di Siviglia), come tenore all’età di ventuno anni dopo aver (come Sigfrido), a Boston (nella parte di Faust Bartolo, Rigoletto, Fra Melitone (La forza Alfredo, Des Grieux (Manon), Tamino, studiato con Ernest Drake. Per tre anni avrebbe di Gounod) ed al Teatro colón a Buenos Aires del destino), Sharpless, Tonio (Pagliacci), il Duca (Eine Nacht in Venedig di Johann continuato a cantare ruoli da tenore, ma poi la (nella parte di Peter Grimes). Con Dame Joan Papageno, Alberich, Beckmesser, Faninal Strauss figlio) e Werther, oltre a comparire in sua voce subiva un cambiamento; diciotto mesi Sutherland ha fatto una tournèe in Australia (Der Rosenkavalier), Krušina (La sposa L’italiana in Algeri, Die lustige Witwe e La gazza dopo interpretava due ruoli per baritono basso, nel ruolo di Edgar (Lucia di Lammermoor), venduta) e Sir Robert Cecil (Gloriana) oltre ladra. Alla Royal Opera del Covent Garden Germont padre (La traviata) e Marcello (La

68 69 bohème). L’anno successivo la sua voce si era Violetta, Elisabetta de Valois (Don Carlos), Leporello in Germania. L’artista, specializzato Theatre appena riaperto. L’anno seguente prese stabilizzata nel registro di basso e il cantante Santuzza (Cavalleria rusticana), sia come Mimì nel repertorio mozartiano per basso e baritono, parte con Ernest Ansermet alle prime esecuzioni interpretava il ruolo di Sarastro (Il flauto che come Musetta (La bohème), Marguerita è particolarmente apprezzato per il ruolo di del Rape of Lucretia di Britten durante la prima magico). Ha studiato a Parigi con Dominique (La Damnation de Faust di Berlioz) ed Ellen Leporello (interpretato a Londra, Stoccarda e stagione del dopoguerra del Glyndebourne Modesti e a Londra con Joseph Hislop; nel Orford (Peter Grimes) oltre a molti altri ruoli San Francisco) e quello di Figaro (allestimenti Festival. Immediatamente dopo si associò al periodo 1963–67 si è esibito con la Sadler’s Le sue interpretazioni in opere di Wagner per la Scottish Opera e la Metropolitan Opera Covent Garden, dove per venticinque anni Wells Opera, oltre a comparire spesso all’Opera hanno incluso Elsa (Lohengrin), Eva di New York). successive diresse un repertorio che andava da Il di Amburgo e alla Victoria State Opera. Dal (Die Meistersinger von Nürnberg), Sieglinde, trovatore a Troilus and Cressida. 1979 in poi avrebbe interpretato regolarmente Brunilde e Gutrune. Ha preso parte alla prima Il direttore d’orchestra inglese Reginald Solo raramente ebbe la possibilità di dirigere i ruoli di Fafner, Hunding e Hagen negli rappresentazione nel Regno Unito di Lucio Goodall nacque nel 1901 e studiò con opere del compositore che più ammirava, allestimenti del Ring dell’Opera di Seattle. Silla di Mozart al Camden Theatre, è comparsa Malcolm Sargent e Constant Lambert al Richard Wagner. Questa lacuna fu colmata nel I ruoli più memorabili di Noel Mangin sono in partecipazione straordinaria in parecchie Royal College of Music. Dal 1929 al 1936 fu 1968, non dalla Royal Opera ma dalla Sadler’s stati quelli di Don Pasquale, Ochs e Osmin. opere in Europa, ha vinto un’onorificenza organista e maestro del coro a St Alban the Wells, che lo invitò a dirigere una nuova Nel 1981 veniva insignito della carica onoraria alla Gara Internazionale di Sofia in Bulgaria, Martyr, Holborn, dove condusse le prime produzione dei Meistersinger von Nürnberg. Il di OBE. È morto nel 1995. e continua anche una carriera attiva come esecuzioni in Inghilterra delle composizioni suo successo fu così straordinario che ritornò cantante in concerti. corali di Bruckner, Stravinsky e Szymanowski, alla compagnia per dirigere quella leggendaria Nata a Douglas nell’Isola di Man e dopo aver oltre che le prime composizioni di Britten. produzione completa del Ring des Nibelungen, studiato alla School of Music di Birmingham, Stafford Dean (Guardia notturna), nato Verso la fine degli anni ‘30 lavorò per assistere, costruita tra il 1970 ed il 1973 e la prima la soprano lirica Margaret Curphey (Eva) nel Surrey, ha studiato con Gordon Clinton tra gli altri, Albert Coates e Malcolm Sargent. data in inglese per molti anni. Continuò poi ha fatto una tournèe con l’Opera for All ed presso il Royal College of Music, oltre che con All’inizio della seconda guerra mondiale a dirigere Das Rheingold e Die Walküre per la ha passato due anni nel coro del Festival di Howell Glynne e Otakar Kraus. Ha esordito diventò direttore della Wessex Philharmonic Royal Opera, Tristan und Isolde e Die Walküre Glyndebourne prima di entrare nella Sadler’s a Glyndebourne ne L’incoronazione di Poppea. Orchestra con base a Bournemouth. Durante per la Welsh National Opera e Tristan e Wells Opera (che più tardi diventò l’English Per Sadler’s Wells ha interpretato, tra l’altro, i il mese di giugno 1945, facendo parte della Parsifal alla English National Opera. Ottenne National Opera), dove ha fatto la sua prima ruoli di Daland, Sparafucile, Colline e Plutone Sadler’s Wells Opera (che più tardi diventò l’onorificenza del CBE nel 1975 e fu fatto comparsa nella parte di Micaela (Carmen) (Orfeo di Monteverdi). Per la Royal Opera è l’English National Opera), diresse la prima cavaliere nel 1985. Reginald Goodall morì nel continuando nel ruolo di La Musica (Orfeo di stato Masetto, He-Ancient (The Midsummer esecuzione di Peter Grimes al Sadler’s Wells 1990 ad ottantotto anni. Monteverdi), la Contessa (Le nozze di Figaro), Marriage), Publio (La clemenza di Tito), Don Pamina, Ninetta (La gazza ladra), Maria Alfonso, Bottom e Gessler (Guglielmo Tell ). Stuarda (nell’omonima opera di Donizetti), Il debutto internazionale è stato nelle vesti di

70 71 y y D empse N oel M ang i n G regor

72 D erek hammond - stroud 74 75 Compact disc one (She looks for the kerchief.) Walther Magdalene The word I crave, you will not speak, Oh Lord! Don’t speak so loud! 1 Prelude Walther The word that will decide my fate? Let us now go home my dear… Maiden, forgive my bold approach. Yes or no! ’tis quickly told. If folks should see us here! Act I Tell me but one thing, tell me, I pray you. Fair maiden, say, are you betroth’d? The interior of the Church of St. Catherine. Eva For just one word I dare to ask you! Walther and Magdalene are sitting in the last row of seats; If life be mine, or death, Magdalene No, first give me your reply! Walther von Stolzing stands at some distance at the If blest I be or cursed ? Good Sir, I thank you. We are in deed obliged; side. One single word will my fate decide: For Eva’s escort we give you grateful thanks. Eva Fair maiden say… May I tell Master Pogner that soon you come to ’Tis safe, the folk are gone. Chorale visit him? Magdalene Magdalene Congregation I’ve found it now. Walther That makes it all the worse! 2 As to thee our Saviour came, Would I never had seen his house! Sir Walther, some other time! Was baptized in God’s own name, Eva Chose to be the sacrifice, Oh dear! the clasp. Magdalene Walther For our sins to pay the price, Why sir, what is this that you say? No! First this word! So must we His children be, Magdalene Although you’ve only just come to Nuremberg, Worthy of His agony. Is that left too? Have you not found a friendly welcome? Eva Blessed preacher, holy teacher! (She searches for the buckle.) What kitchen, cellar, hearth and home could give, This word! Bless us with Thy hand, Does that deserve no thanks? (Magdalene turns and sees David.) There on Jordan’s strand. Walther (The congregation slowly disperses.) If light and life, or night and death Eva Magdalene (aside) Whether I learn the tidings I long for, Good Lene, ah, he means it not so; David? Eh? David here? Walther (to Eva) Whether I hear the words that I dread: He is only eager to know, 3 Oh stay! A word! one single word! Fair maiden, say… How shall I say…? Eva Bewildered am I! I feel as though it all were a How can I? Speak for me! Eva (to Magdalene) Magdalene dream! My kerchief, see! ’tis left behind. Now you have the clasp. He asks, am I betrothed! Magdalene Come love, for now you have them both. Good sir, the question that you now ask, Magdalene Oh dear, now I’ve left my book behind! To answer is no easy task. Forgetful girl! Now I must look! Though Eva is betroth’d indeed…

76 77 Eva Eva Magdalene Magdalene But yet has no one the bridegroom beheld! You and no other! Oh, David! David! So then, the Knight has come here just in time. Now Eva, come, we must go home. Magdalene Magdalene David (returning) The bridegroom’s name will not be known What, Eva! Eva! Think what you’re saying! Yes, here I am, who calls? Walther Until tomorrow; it shall be shown, To Master Pogner let me now escort you. When a Mastersinger the prize has won. Eva Magdalene Good Lene, help now to win me my lover! Ah, David see how much pain you cause! Magdalene Eva The darling rogue! Surely he knows? No, wait for him here, he soon will come. And my own hand will place the crown. Magdalene Oh look, I fear he has lock’d us in now! If for Eva’s hand you’re striving, Yesterday only you saw him first! Then time and place are on your side. Walther David Now come, we must hurry. A Mastersinger? Eva Just you in my heart! Even at once was my heart aflame; Walther Eva Long had I gazed on his image fair! Magdalene What am I to do then’? Are you not one? Say, is he not like to David there? How faithful he is! Come tell, the reason for this nonsense? Magdalene Walther Magdalene Let David now teach you the rules of the trial. A trial song? Are you mad? Like David? David David, this Knight must here with you stay. Defend us! Nonsense! A serious thing! Look after him, and help him well, I pray. Magdalene Eva For the Masters I set out the ring. I’ll cook as fine a dish Before the Guild! The picture, I mean! As you could ever wish, Magdalene And tomorrow, your love may be bolder, Walther Magdalene What? Will there be singing? If he today becomes a Master. The prize is won? Ah! mean you the King, with harp and sceptre, And flowing beard on the Masters’ shield ? David Eva Magdalene Just a trial today; When shall I see you? By the Master’s favour. Eva The pupil’s way will be made open No! he who boldly defeated Goliath, If no rules of the Tabulatur are broken. Walther Walther With sword at side his hand holds the sling, Master may he become, with luck. This evening be sure! Nought shall dismay me, The bride will choose? His head aglow with locks of gold, No pow’r shall stay me! As drawn by Master Dürer of old. New is my life, new my life.

78 79 New now are all things for which I strive! David David Walther I know but one aim, I’m always the one who is working; Are you a ‘Poet’? Counsel me well! Only this one thought doth burn within me, Work now yourselves, and leave me in quiet. How I long to win thee! Walther David If sword avail not for me to conquer, Apprentices Would I were! 5 My Lord! The Mastersinger’s way Then as a Master, I’ll win by singing. Oh! Oh! Such airs! How proud and haughty! Cannot be found in just one day. For thee all I hold, for thee poet’s love untold! Because he gets strapped when he’s naughty! David In Nuremberg, the finest Master He sits and cobbles with a feather! Are you a ‘Singer’? Is now the great Hans Sachs: Eva Makes poems with thread and string! For full a year he has taught me, My heart’s love untold, He writes his verses on greasy leather! Walther So that a scholar I wax. For thee, loving thought doth hold. He knows too, how it can sting. Would I knew! Shoe‑maker’s craft and Poet’s art, Both, daily I learn by heart: Magdalene David (to Walther) David First all the leather, smooth I hammer, Come home! or else all will go wrong. Now begin! But ‘Student’ surely, or ‘Scholar’ you’ve been? Then all the vowels and consonants stammer; Next, must the thread be stiff with wax, (Magdalene and Eva go off quickly.) Walther Walther Then must I learn, it rhymes with Sachs. What for? But all these words sound strange to me! With thread and needle make stitches neat David And then I learn about time and beat A Master! O‑ho! You’re bold! David David With leather and last, the slow, the fast, Now begin! So cries the Marker­– And yet you would be a Mastersinger? The hard, the light, gloomy or bright, Second Scene Then you start singing! Don’t you know that? The scissors and snippings, and word clippings, Walther The pauses, the corns, the flowers and thorns, (More Apprentices have entered. They bring benches Walther You think I am inviting disaster? I learn’d all this with care and pains; and place them in position, preparing everything for Who is the Marker? To what now, think you, that it attains? the sitting of the Mastersingers.) David David O Lene! Lene! Walther Apprentices Don’t you know that? Have you not been at a Surely, a pair of well-made shoes? 4 David, come on, lend a hand! Singing Trial? Walther Come and help us with the stand. What do you mean? David Walther Ah, there is time enough for that! Not yet, where the judges were craftsmen. David A ‘Bar’ of many stanzas is made; O Magdalene! And the rules alone would break your head,

80 81 And rightly stitched and truly pitched, David David (to Apprentices) Ah, yes, the Marker! Do you grow pale? Must word to tone be mated, Wait a while! Wait! A Poet, you ask? 6 What’s this that you’ve done? When I’m not at Before him many candidates fail. Well soled and heeled and fitted! When as a singer you’ve graduated hand. Seven faults the Marker lets by, And then there comes the After‑song, And the Master tones have sung as I’ve stated You all go wrong with the chair and the stand. With chalk they are marked on the slate: One not too short and not too long, If you yourself, in true accord, Is it not Song‑School? That you know! If more than seven faults he should spy, And in it no rhyme may sound, Find and unite both rhyme and word, The chair must be here! It’s trials today! Then the singer has met his fate! That in the stanza is found. So that they fit some Master‑tone: So you must take care, the Marker’s there! When all this you’ve read, marked and learned Then you’ve made the Poet’s prize your own. (The Apprentices, who had put up a large stage, put Good luck to Mastersinging. You have still the name of Master not earned. it aside under David’s direction and substitute a May you, your garland be winning! Apprentices smaller one.) The silken garland of flowers bright, Walther Hey! David! must we then call your master? Will that, by good fortune be yours by right? O Heav’n! Teach me no cobbler’s trade! Will you never have done with your chatter? Apprentices Rather tell me how a singer’s made! Such a scholar as David, we’ve never yet seen; Apprentices David Glory and honour, he surely must win: The silken garland of flowers bright, David Ho! Ho! I see, if I leave you for long, Perhaps he may be freed today; Will that, by good fortune be yours, Sir Knight? Ah, that would already a singer I were! Ev’ry thing you do, goes completely wrong! The finest of singers he long has been. Who knows what time it needs and care! The Strap‑leather mode has made him smart, Third Scene The Masters’ tones and measures Walther The Hunger tune he knows by heart! Are many in name and kind; But, tell me, who as ‘Master’ you name? And the Hearty‑kick mode he carefully learns, (The Apprentices separate in alarm as the sacristy The strong ones and the gentle His Master employs them all by turns. opens and Pogner enters with Beckmesser.) Who at once their names can find? David So learn this lesson well, My Lord, a Master, we thus proclaim; David Pogner Beware the Master spell! The Poet who by faithful striving, Yes laugh away! but not at me. 7 Be well assured of my good favour; Till Singer and Poet he has been, To words and rhymes, he himself has found, Another candidate you will see. What I have planned, will serve you well: No one the Master’s crown can win. A melody adds of his own contriving, Who’s not a Scholar, nor a Singer, Success will go with your endeavour; He will as ‘Mastersinger’ be crowned. As Poet too, he’s a beginner, Who wields like you the Master’s spell? Apprentices A gallant knight, he. In a single flight David! Come here! David! Walther Now hopes without ruin or disaster, Beckmesser One path alone then, to Master’s name! Today to be Master. But won’t you make this one concession, Walther That by heaven, grace may be given, So quickly make ready the Marker’s place! For I confess, I’m doubtful still What makes a ‘Poet?’ Rightly to fashion a Master‑strain. Here now! There now! The black slate on If Eva’s wish may choose her lover, the stand, What good is all my Master‑skill? All ready for the Marker’s hand. 82 83 Pogner Walther Gladly I helped you your land to sell, Nachtigal And yet, I feel that first of all, That here you find me is only right; To our Guild, I welcome you now as well. Then call the names out. You should try to learn how well you stand, For, you must know I left my home For if her heart you fail in winning, And came to Nuremberg town, Beckmesser Kothner How then can you desire her hand? For love of art alone. (He displeases me! Why is he here 8 Now to a trial, as summoned hither, Until today I failed to say it; With his laughing looks? Masters in council are come together: Beckmesser Now, must I openly proclaim it; Holla Sixtus! beware of him!) Of one and all, the names I call, Ah, yes, quite true! I therefore pray you, A Mastersinger I would be! And as the last elected Master, That to the child you speak for me. Pray, of your Guild now make me free! Walther I name myself and call Fritz Kothner. Say I am kind and very gentle, For all your goodness, most deeply I thank you, Are you there Veit Pogner? And that Beckmesser you approve. (The Mastersingers enter one by one.) And dare I to hope then, the way now is open For me, the prize to claim of Mastersinger’s Pogner Pogner Pogner name? Here at hand! With right good will! Kunz Vogelgesang! Friend Nachtigal! Here is a most unusual case: Beckmesser Kothner Beckmesser (aside) This noble Knight, to me well known, (O‑ho! So fast! Then the Knight’s on his mettle!) Kunz Vogelgesang? (He won’t give way! To our Master art, his thought would turn. I view the future with dismay!) Pogner Vogelgesang Beckmesser Sir Walther, we must respect procedure. Here I stand. Walther (Once more I will ask him, and if he refuses me Today is trial, but have no fear, Your pardon Master! With song I will charm the maiden to choose me. I gain from the Masters, a willing ear. Kothner I’ll sing at night for her ears alone: Hermann Ortel ? Pogner Perhaps by singing, may she be won.) (Sachs enters last of all.) What, Sir Walther? (seeing Walther) Ortel You seek me in the Singing‑School? What man is that? Sachs Comes when he ought. God greet you, Masters! Beckmesser Pogner Kothner (If women had wits! but high sounding folly Warm is my heart! Vogelgesang Balthazar Zorn? Pleases them more than poetry’s charms!) The days of old are born anew. Are we all here now? What you desire, if mine to grant, Zorn You can command. Beckmesser Here on the spot. Yes, Sachs has arrived.

84 85 Kothner Sachs Vogelgesang Will greet both songs and prizes. Konrad Nachtigal? Have you got fleas? Forgive, Masters, The festival first. As God made me a wealthy man, Here, if you please! And each one gives as best he can, Nachtigal Beckmesser I sought among my treasure, True to his lay. Kothner So pressing sirs? My place to you gladly I yield. A gift beyond all measure, Sixtus Beckmesser? Lest I to shame be brought; Kothner Pogner I found then, what I sought. Augustin Moser? Beckmesser Not so; my Masters, let that alone, In all my journeys far and wide, Always with Sachs. A weighty matter I would make known. I oft was angered greatly, Moser Thus the rhyme I learn, to ‘bloom’ and ‘wax’. Finding we burghers were decried Never away! Kothner As selfish and unfriendly. Kothner Now, tell us, Master, speak! In castle and in humble hut, Kothner Ulrich Eisslinger? The evil slander ended not, Niklaus Vogel? Well? Pogner That only treasure and gold, Eisslinger Then hear, and attend ye well. Our burghers’ dreams can hold! Apprentice Here! 9 The feast of John, Midsummer day, Though in our country’s spacious bounds, He’s ill! Ye know we keep tomorrow. The arts, we alone have tended, Kothner In meadows green, by hedges gay, For this we are little commended. Kothner Hans Foltz? With song and dance among the hay, But how our deeds do honour us all, Good health to the Master! With heart so full of gladness, And how, in steadfast mood, Foltz Forgetting all his sadness, We cherish the fair and good, Mastersingers Here, too. Let each rejoice as best he may. The pow’r of art and all its worth, Amen! The Singing‑School will raise on high To that, I would here bear witness on earth: Kothner A hymn of praise and glory, This gift, then, I choose as prize: Apprentice Hans Schwartz? With joyous sounds and hearts aglow, May ye Masters think it wise! His thanks! Into the meadows we will go, To him whose song, among the rest, Schwartz Amid the Festive thronging. In contest here, you judge the best, Kothner At last, praise God! The folk shall hear resounding, On John the Baptist’s day, Hans Sachs? The songs that Mastersingers know. Let him be whom he may, Kothner When gifts are won in strife of song, Him give I, a Mastersinger of Nuremberg, David The council, I declare, is met. That blithely swells and rises, Veit Pogner, with all I possess and all I hold, He’s there now! Shall we make choice of a Marker now? Then acclamations loud and long, Eva, my only child, as bride.

86 87 Mastersingers Kothner Mastersingers You leave your realm of mist and cloud His words are brave; like word, like man! I understand. You place us in the maiden’s hand? O‑ho! The folk? Aye, that would be good! And turn yourselves towards the crowd. He speaks as only Nurembergers can! Must we agree? Farewell then, Art and Masterhood! To give the people some pleasure We’ll sing your praises, far and wide, Who then could call the Masters’ judgement free? We know our aim to be; Our worthy burgher, Pogner Veit. Kothner We’d lay before them the matter, Beckmesser Nay, Sachs! indeed, that’s plainly absurd! And ask them if they agree. Apprentices Whom she loves, let her heart proclaim, Why give the folk the final word? Thus, Folk and Art, both bloom and grow. All our days, we will raise Pogner’s praise! And leave the Mastersong out of the game! It well might be! Hans Sachs thinks so! Sachs Vogelgesang Pogner But hear me out! Why argue so? Vogelgesang Who would not now un‑wedded be? Not so! And why? Let me explain! Confess, the rules right well I know: You mean right well. If your judgement elects a man And that those rules should suffer no slight, Sachs Who fails to gain her favour, Has been my endeavour, day and night. Kothner There’s some would give their wives with glee! Unwedded she lives then forever. But once ev’ry year, it might be better, And yet you’re wrong. A Mastersinger must he be: To put those rules themselves to a test, Kothner He whom ye crown, and none but he! To find out if, following custom for ever, Nachtigal Now single men! Do what you can. Their force and life be still at their best! If mobs may speak, I hold my tongue! Sachs And if you would be sure Pogner Aha, I think you’ve gone too far. You follow Nature’s law, Kothner Now Masters, hear what I decree! A maiden’s love and Master’s aim Ask folk unskilled, But shame will fall upon our Art, A lifeless gift I will not give, Will hardly burn with equal flame; Who don’t know of the rules of our Guild. If in our work the crowd takes part. The maid herself will help to judge. A woman’s thought, the people’s mind, The prize shall go as wills the Guild; They are to me alike in kind. (The Apprentices spring up and rub their hands.) Beckmesser But maiden’s hearts may not be willed; If you would clearly show your neighbours Shame has he brought who talks so loud: And whom the Masters choose, How well you love your art, Beckmesser Writing doggerel rhymes for the crowd. The bride may still refuse. And let Eva choose the man she favours, (Hey! See how the boys make merry!) Yet not have your verdict barred, Pogner Beckmesser So let the folk, the judges be, Sachs Friend Sachs! What I mean is quite new, You think that wise? There’s danger there! With the maid, I’m certain, I’m sure you will not regret it, Too much at one time we should rue! They will agree. If only on each Midsummer’s day, I ask then, if all Masters allow, Turning aside from custom’s way, Prize and reasons, as I state them now.

88 89 Sachs And here as Master, make him free. By name and letters to me well known, Sachs Let the maiden choose and I agree. The Knight von Stolzing, here you see! As last descendant of his line, A worthy Master. He lately left his home and lands, and came Beckmesser Beckmesser To Nuremberg here, to join our Burghers’ Guild. Beckmesser (This shoemaker enrages me!) 10 (Just as I thought!) But long since dead; Is that the plan, Veit? Beckmesser From him, I wonder, what rules could be learned! Kothner Masters, perhaps the time is too late! Raw, pompous upstart, waste of time! Who comes as a suitor here? Kothner Now bachelors, all draw near! Mastersingers Nachtigal In what School of Art and singing A Knight, indeed? Should we be glad? Friend Pogner’s word is good enough. Did you receive your instruction ? Beckmesser Is there danger here? Perhaps to a widower, None the less, it must have great weight Sachs Walther Just ask Hans Sachs! That Master Pogner for him speaks! The rule by the Masters, was made of old, Then when the frost had pass’d away That lord and peasant, alike we hold: And sunshine fill’d each summer’s day; Sachs Kothner Here nought is prized but Art alone, What, during winter’s dreary spell, Not so, dear Marker! Yet, if the Knight is to join our Guild, In those who seek the Master’s crown. That ancient book had told so well, A younger man than I or you, must the suitor be, He first must be tried and duly passed. That song I heard, o’er moor and fell, If Eva’s choice with ours agree. Kothner Through field and forest ringing; Pogner Then his answer I claim: From birds’ songs on the Vogelweid, Beckmesser Mistake me not! Friend, though he be, His Master now let him name. ’Twas there I learned my singing Than you or I? Ill-mannered boor! By rules alone, you must your verdict agree. Put, Master, the questions. (Walther takes his place and sings.) Beckmesser Kothner O-ho. The finches and thrushes, Who comes a wooing? Why be afraid? Kothner Walther Taught you our Mastersinging? Is any one here who wishes to wed? Then first let the Knight first tell us: 11 By silent hearth, one winter’s day, What manner of teaching was theirs? Are his birth and standing approved? When locked in snow, the castle lay, Pogner How once the laughing Spring did reign, Vogelgesang Now Masters, to duty let us turn! Pogner And sleeping now, should wake again, Two pleasing verses he has just sung. And hear from me the news, That question I will answer, An ancient book, to heart and brain, That as a Master should For I myself his bond will be The blessed tidings brought me: Beckmesser A youthful Knight I present you, That he is nobly born and free. Sir Walther of the Vogelweid, You praise him, Master Vogelgesang, Who wills that we elect him The Knight von Stolzing from Frankenland, Was then, the Master who taught me. Since from the birds, he has learned all his song?

90 91 Kothner Beckmesser And silently do his rigorous work. Who sings a song upon this wise, What say you, Masters, should we end here? What sense is in these whirling words? Seven faults he letteth pass by, Shall gain thereby, the Master’s prize! The Knight already is wrong, I fear. With chalk they are marked on the slate: Be seated in the Singer’s chair! Vogelgesang But, if more than seven faults he should spy, Sachs In truth, ’tis bold! Then, Sir Knight, you have met your fate. Walther We must not judge too lightly! His ears are keen; but, lest your soul, Here in this chair? If Art has taught him rightly; Nachtigal If he were seen, should be distressed, and good in sound and thought, Strange is the case. He leaves you at rest. Kothner Who minds by whom he was taught? And hides himself away; ’Tis custom here! Kothner God grant you His grace today. Kothner Now Masters, with your leave, Walther (aside) Are you prepared to show us all? The Marker takes his place. (goes behind the curtains) (For thee, beloved, this shall be!) If you have found a Mastersong Does the Knight choose a holy theme? With words and tune well mated Kothner Kothner And by yourself created? Walther 12 To make your footsteps safe and sure, The Singer sits! My holy sign, the banner of love, These rules come from the Tabulatur. Walther Waving o’er me, floats above! A song hath ‘bars’, as the Masters teach Beckmesser (from behind the curtain) The secret deep of Winter’s sleep, Which duly present a measure each: Now begin! Of woods in Summer’s glory, Kothner For this are sundry stanzas needed, The hidden word of book and bird, That call we worldly. Therefore now, With laws that must be heeded. Revealed in Poet’s story; Master Beckmesser, take your place. In a stanza, first you put together Compact disc two The warlike clash, when weapons flash, Two strophes, sung to one melody; And music for a merry dance, (Beckmesser goes to the Marker’s box.) And each to several lines extend. Walther Within my heart are ringing; Each line or verse, a rhyme must end. 1 ‘Now begin!’ These now, to gain life’s highest prize, Beckmesser There follows then, the Aftersong, So the cried the sun with the land; Must I proclaim in singing. A bitter task today I fear! Which is several verses long. Loud echoed her command, A song my own, in word and tone, The chalk will be busy, well I know! This also must have its melody, And through the forest flying, I gladly now will bring you, Young Knight, take care: But this must not like the Strophe be. Scarce reached its farthest bound, A Mastersong, if I am right, Sixtus Beckmesser marketh here: The Songs with ‘bars’ of such a measure, When distant glens replying, My Masters, I will sing you. Here will he lurk As Mastersongs we duly treasure. Gave back a mighty sound. Of sequent notes as used before, The woods are long and filled with song Our rules allow not more than four. And sweetly sounding voices;

92 93 Now loud and clear, the sound draws near; (Beckmesser comes out of the box.) That will I prove to all the Masters’ Guild. Nachtigal The tumult swells, like pealing bells, But, heavy toil the task will be! We listen too long! And ev’ry creature rejoices! Beckmesser Where begin it, what sense no man can see? All heard spring’s word, and answered to her call, 2 Then have you finished? Mistakes in quantity and rhyme, Vogelgesang New life she’d given all; This time I will ignore. Empty noise I find it! Raised on high, the tender song of spring. Walther Too short, too long, with no thought for time, Deep hid in thorny cover, Why do you ask? Have you heard, such nonsense before? Zorn Consumed by wrath and hate, His ‘hazy meaning’, that’s bad enough. There’s nothing behind it! Now once his reign is over, Beckmesser Tell me what sense you find in this stuff? Old Winter lies in wait: See, the slate here with your faults is full. Kothner In gloom of deepest woods, Mastersingers And from his seat he jumps while he’s singing! He cowers there and broods, Walther I found no sense, I must confess! How all this joyful singing, But wait! Unto my lady’s praise, I could see no end. Beckmesser He may to woe be bringing! A fitting lay, now would I raise. Do you wish me to show what I have detected, But, ‘Now begin!’ Beckmesser Or at once declare he is rejected? So rang the cry in my breast, Beckmesser And then the mode, what medley it showed, Before I had heard love’s behest. Sing where you will! Of ‘Bold Adventure,’ ‘Blue Rider spur’ mode, Sachs I thought I woke from dreaming; Here, fixed is your fate! ‘High Firtree’ ‘Proud Stripling’ tone! 3 Stay, Masters! Why so much haste? Deep down my spirit was thrilled, Ye Masters, turn your eyes on the slate; No form or pause, no coloratur, Not ev’ry one does share your taste. My fevered pulse was leaping, The like of this was never heard! Of melody no trace could I hear! The Singer’s bold intention, My being with joy was filled; No, never, though you pledge your word I found it new, but hardly wrong; My blood on fire, with wild desire, Kothner Though he does scorn convention, Some new emotion thronging; Walther I understood nothing at all. His step was firm and ever strong. Through sultry night, I ask you, Master is this not wrong? If by the rules you’d measure With greatest might, May no one hear me end my song? Ortel What does not with your rules agree; Tempests of sighs, in tumult rise, Who calls that a song? Forget the laws you treasure, And tell my passion of longing; Pogner Seek out first, what his rules may be. I heard Spring’s word One word, Sir Marker! Be not unjust. Moser And answer’d to her call. We listen too long! Beckmesser New life she’d given to all; Beckmesser A‑ha, ’tis well! Now hear him, pray! Aloud I sang the glorious song of love. Be Marker henceforth, who ever will. Foltz For Sachs to bunglers shows the way, But, that the Knight has failed beyond all doubt, Who calls that a song? Where they may roam at their pleasure,

94 95 With none to take their measure! Kothner But now, perhaps ’twill come, To mountain height, in dauntless flight, Sing to the mob in the streets and the market, Our wrath beware! When Sir Walter’s Song I’ve heard, From city’s tomb, towards its home, Here, singers are ruled by the laws of singing. Let him sing on now undisturbed! Its wings are surely driven, Pogner To meadows where the song of birds, Sachs I pray you, Masters, no more strife! Mastersingers The Master first revealed in words; Friend Marker, why so hotly burning? No further! an end! No more, no more! Where I my song will raise You are upset, I fear. Beckmesser In fairest woman’s praise: Your judgment might be more discerning Ei! What is it to Master Sachs then, Sachs (to Walther) There on high, Had you a keener ear! What I may see fit to do? Sing, just to make the Masters roar! Though ravenmasters croak and cry, And so, now hear my final word, Let him pay more attention to cobbling, My song of love shall swell! That the singer to the end must be heard. And make a better shoe! Beckmesser On earth, ye Masters, farewell! But since my cobbler has taken to verse, What use is all our schooling? Beckmesser The shoes he makes, have grown worse and Such singing is but fooling! (The utmost confusion breaks out during Walther’s The Masters’ Guild and all the Schools, worse; song.) Set against Sachs are nought but fools! Unsound throughout, they flap all about! This stuff he loves to scrawl. Walther Beckmesser Sachs He can just keep it all Now from the thorny thicket, Every fault, both great and small! Now God forbid that I should claim His lays and plays, his farcical muse, The owl flies through the wood. Look you here – do but see the slate. To flout our laws or deny their aim! If he’ll just bring me my fine new shoes! With hoots and cries, ‘Faulty verse’ – ‘unsingable phrases’ ’Tis written in this fashion: He wakens the raven’s croaking brood; ‘Word clippings’ – I reprehend. The Marker shall be chosen so, Sachs Now calls the dusky crowd ‘Aequivoca!’ – ‘Rhymes in unfit places!’ ‘That, free from hate and passion, That’s true I must admit, To rise and shriek aloud: ‘Reversed’, ‘misplaced’ from end to end. He shall not swerve for friend or foe.’ But do you think it fit, With voices hoarse and hollow, A ‘Patchwork Song’ here, filling the pauses! Now if our Marker goes a wooing, That if I write a paltry verse The crows and jackdaws follow! ‘Hazy meaning’, see everywhere. Can he refrain his best from doing On the donkey‑driver’s shoe, Up then soars, on golden pinions borne, ‘Unmeaning words’, ‘Breaking off’, ‘Lame clauses’. To make his rival seem a fool, Our wise and learned Sir Town Clerk A bird to greet the morn, There ‘Faulty breathing’, ‘Surprises’ here! And shame him here before the School? Should not have his verses too? With wondrous plumage o’er me, Incomprehensible melody. But verses worthy of your choice, Serene in Heaven high; A mixing up of all tones that be. Nachtigal Among all the humble poems I voice, It gleams and floats before me, If you are equal to this strain, You go too far! Found I as yet not one! And lures me on to fly. Masters, count all his faults again. Now swells my heart, with tender smart, Already at the eighth he was cast, As wings by need are given; But so long as he, no man did ever last.

96 97 Well over fifty, that is clear! But Knight is he, Knight and Poet, too. Apprentices David Say, shall the Knight now be Master here? 5 Midsummer day! Midsummer day! Ah, Magdalene, ’twas unlucky, Now Masters, judge aright! Pogner Flowers and ribbons, wear while you may! He was rejected all hope is gone. Ah, yes, indeed, right well I see, Mastersingers My Knight will ne’er a Master be. David (aside softly) Magdalene Ah, yes, how true, for with each verse, If I should be overborne, The silken garland of flowers fine, Rejected? No hope? The young Knight goes from bad to worse. I fear the outcome I shall mourn. Would that tomorrow it might be mine! Let Sachs think of him as he may choose, How gladly would I welcome him. David Him, we refuse! Such kinsmen would I not refuse; Magdalene (Magdalene has come from Pogner’s house.) What is that to you? Shall any Master, spite our denial, [But when the winner comes a-wooing, Hist! David! As Master choose, whomever he will? Who knows if him, my child will choose? Magdalene May all come in without a trial? I fear me, when he woos, David (turning towards the alley) Hands from the basket! Do not touch it! What good then, to Masters, their skill? The maid, his suit will refuse. Still are you calling? Alas! Now misfortune I see! Hei! see how the Knight is distraught, Why should I sing your silly ditties! Though Sachs for him well has fought. Apprentices (She goes back into the house. David looks after ’Tis not to be borne! Now make an end! Good luck to Mastersinging! Apprentices her.) Each Master, speak, and uplift his hand. Your garland then may you be winning! David, give ear. Proud, be not here. Rejected is the Knight! The silken garland of flowers bright, Turn but your eyes, if you are wise. Apprentices Will that, by good fortune, be yours, Sir Knight? ‘Midsummer day, Midsummer day,’ Hail! Hail! our young man wants to wed! Sachs And he cannot see his Lene, and turns away! How kindly he is received! Ah! what a fire, the heavens inspire. (Walther leaves the scene contemptuously amid the We heard and saw all that was said, Ye Masters, let him be heard. uproar.) Magdalene He offered her his heart, his life if she’d but ask it, Hear, if Sachs gives his word. David! Listen! Turn round my dear. But she would not give him her basket! Sir Marker, there, let us have rest. Let others hear him, grant that at least. Act II David David In vain! a vain endeavour. Ah, Magdalene, you are here. Go back to your work! Stop fooling about! Nought is heard, I may hold my tongue; 4 Prelude No use, though he sing for ever. Magdalene (pointing to her basket) Apprentices (they make a ring and dance) In truth ’tis brave, striving so long. First Scene Look in and see what is inside; ‘Midsummer day! Midsummer day’ With heart in its place aright, The street before the houses of Pogner and Sachs. I brought it for my sweet‑heart, dear. Each man must wed as best he may: A true born Poet-Knight. A summer evening. But tell me first, what luck had Sir Walther? The master weds, the prentice weds, Hans Sachs may make both verse and shoe, You gave him advice? Did he win the crown? Fortune will follow the bold ones,

98 99 When grey beards wed the youngest maids, Eva (peeping) O child! Does not thy heart tell thee, Pogner The prentices wed the old ones. I think he’s in; his light still shines. What joy tomorrow thine may be, He pleased me not. But yet! What now? Juch hei! Juch hei! When Nuremberg, in all her state, Ah! I’m a fool! Midsummer day, Midsummer day! Pogner With acclamations ringing, Shall I? What use though? Will come with folk both small and great, Eva Sachs Better not. To see thee crown our singing, Dear father, now quick! Go change your gown. What’s this? Must you be always in fights? (He turns away.) And thou as bride shalt crown the man On ent’ring some new venture, Who gaineth thee as prize, (He goes into the house.) David No man wants words of censure, The Master of thy Choice? Not I, they were all teasing me! And he ’twas who said I went too far! Pogner And yet old custom not heeding, Eva Hm! What thoughts in my head go round. Sachs I followed on his leading! Dear father, must he a Master be? Pay no heed, learn better than they! But yet perhaps ’twas vanity. Magdalene (to Eva) Go in, lock up! Bring me a light! (He turns to Eva.) Pogner What have you heard? And thou, my child? Hast thou no word? Yes, child, a Master of thy choice. David Eva Have I to sing now? Eva Eva (Magdalene appears at the door.) No word he spoke. A child obeys and is not heard. Yes, of my choice but now go in. Sachs (to Magdalene) Magdalene No, no song Pogner Yes, Lene, yes, ’tis supper time! My David says, your lover has failed. To pay for your cheeky interruptions! How wise! How good! Now on the last, put the shoes and leave me! Come sit down here and talk awhile with me my Pogner Eva (alarmed) child. But we have no guest? Sir Walther? Ah me! What shall I do? (David and Sachs enter the workshop.) Ah, Lene, my fears! How to allay them? (Enter Pogner and Eva.) Eva Eva Is it not too cool? Though the day’s been warm. Not Sir Walther? Magdalene Pogner (peeping through a chink in Sachs’ shutter) Perhaps from Sachs? 6 We’ll see if Master Sachs is there. I’d speak with Pogner Pogner him; Ah no, the air is kindly, How so? Eva (cheerfully) Shall I go in? And soft the night and friendly: Ah! He loves me well: to him I will go. ’Tis promise that the fairest day, Eva Tomorrow will be dawning. Did you not see him?

100 101 Magdalene David (aside) It seemed so old, yet new did it ring, That they on my feet, Beware of your father, But why does Lene sleep tonight? Like morning song of birds in spring. Have not even been tried. For he will notice if you are late. Why does the Master work tonight? One who heard, and madly dared In a while I’ll meet you and tell you a secret That song to sing again, Sachs That someone confided to me lately. Sachs Would reap but scorn and shame. Tomorrow you will wear them as bride? You still here? Spring’s sweetest strain, Eva Its wondrous pain, Eva Who then? Sir Walther? David These taught him what he must say: But who will the bridegroom be? Sleep well, Master! Then sang he, in Nature’s way, Magdalene And Nature’s way, he captured, Sachs Not he! No, Beckmesser. Sachs I saw him so enraptured. Who can tell? Good night. The bird who sang today, Eva (David goes into the room.) From Mother Nature learned his singing; Eva 7 A pretty secret, that! 8 The elder’s scent, how tender, Masters may show dismay, Can you say I’ll be a bride? How mild, how rich it falls, Hans Sachs will ever hear it ringing! (She goes into the house, Magdalene follows her.) It bids my soul surrender, Sachs (Sachs has returned from the inner room. He turns Words from out my heart it calls. Eva (stands unnoticed by Sachs’ door) Ah well, ev’ry one knows. to David.) And yet such words are hard to find 9 Good evening, Master! For one like me, simple of mind! You’re still working? Eva Sachs Though for my work I’ve no liking, Yes, ev’ry one knows, Lets see. That’s good, Dear friend, let me go free, (Sachs starts in agreeable surprise.) Friend Sachs, wiser and wiser grows! Here at the door, put my stool and tools now I’d better get back to my working, I thought he knew more. outside. And let all this poetry be! Sachs Then go to bed, be up in time, (He begins to work then leans back in thought.) Ah, child! Sweet Eva! Still awake? Sachs Sleep off your folly, tomorrow be wise! And yet, it haunts me still, And yet I think I know the reason: What should I know, then? I feel, yet follow it ill, The new‑made shoes? David Cannot forget it, yet still cannot grasp it, Eva More work this evening? It slips from my hand, e’en when I clasp it, Eva Ah, look now! Must I my secret show you? But yet, how could I measure, You are quite wrong! Am I, then, so dull? Sachs What no earthly measure could fit? The shoes hardly have been in my mind; What’s it to you? It flouted all that we treasure, They are so fine, so richly made, Sachs Yet in it no fault I find. I don’t say that.

102 103 Eva Sachs Eva Eva Are you, then, so crafty? He hopes to win you with his singing. I see now, why you were childless then. Where does a Master then keep his eyes? Would I ask you now, if that were so? Sachs Eva Sachs I don’t know that. A man like that! I once had wife and children in arm. Sachs Ah yes, that’s true, I am dense I know. Eva Sachs Eva All day in thought I’ve tossed and turned, You know naught! You say naught! He’s bachelor. But dead is your wife, and I am grown? But still it seems I’ve nothing learned. Ah, friend Sachs, We have but few unmarried men. Now I see truly, pitch is not wax. Sachs Eva I thought that your cunning was finer. Eva So tall and fair! Was it in the Song School? Today you met? Might not a widower go a‑wooing? Sachs Eva Sachs Child, both wax and pitch are known to me, Sachs The thought would come, Yes, child, at that hearing I was upset, The wax strengthens the silken stitching, My child he’d be too old for thee. That I might be wife and child in one. With which for you those dainty shoes I sewed; Eva Now here are some shoes that call for pitching, Eva Sachs Ah Sachs! If only you’d mentioned the matter, To help a clown on his stony road. Ah, what too old? What wins is Art; Then I should have child and also wife! I’d not have wearied you with my chatter. And all who sing, to woo are free. How happy then would be my life! But say, what man your favour has sought? Eva Yes, yes, your plot is quite clear to me! Who, then is he? Someone great? Sachs Sachs Don’t try to pull wool o’er my eyes. Eva A noble man, and quite untaught. Sachs I think the Master is laughing at me! Yes, truly! A Master proud who boldly woos, Eva I’m sure ’twill cause him but little sorrow, Eva Expecting to triumph by his singing: Not I, you, ’tis you that are cunning! If under his nose, from all, tomorrow, A noble? O tell, and did he succeed? For Beckmesser’s feet I make these shoes. Your falseness you dare not deny. Old Beckmesser wins me with his song. Only God knows now who’s taking your fancy! Sachs Eva For many a year I dreamed ’twas I. Sachs On no, my child, we disagreed. Then pitch in plenty, let there be: If he’s successful, what can be done? May he stick there and leave me free. Sachs Only your father can advise. Because in my arms oft I cradled you?

104 105 Eva Sachs Eva Magdalene Oh Sachs, do tell, how did it go? Would that be likely? You go instead and say that I am gone to bed. Come, it’s time to go in! Can I be calm if it plagues you so? Who’d be his friend, Did he have no luck then? Was he so wrong? One who made all Masters feel they were small? Magdalene Eva That haughty noble, devil take him! No, no, listen! This you should know! Not yet, until I my dear one have seen! Sachs Let the world outside awake him! Beckmesser found me and would not go For the Knight, all hope of success is gone. What we have learnt with toil and care, Until I promised that I would bring you Magdalene Let him leave us in peace, to enjoy it. Tonight to your window, then he will sing you I made a mistake, it was not he. Magdalene (comes out of the house) Why should he come here and destroy it? The song that he’s hoping will win him the prize, Now come, or soon your father will suspect! Eva! His fortune, let him seek elsewhere. And earn him favour now in your eyes. Eva Eva (to Sachs) Eva Eva I’m so afraid! Is it hopeless? Why? Yes! Elsewhere then, ’twill come I know! Must I bear that too? (I long for him!) Is there no way that one could try? Though you may try to spoil his chances, Magdalene Was he so wrong, so much at fault, Where hearts with loving ardour glow Magdalene Now let us be thinking, That none of the Masters would take his part? In spite of nasty Master Hanses! Has David been here? How we can send that Beckmesser packing. Yes, Lene, yes! I’m coming now! Sachs Fine consolation I get here! Eva Eva My child, the man who meets such disaster, The smell of pitch could do him harm. What’s he to me? Go to the window instead of me. No Master will be in any land. Let him burn it and keep himself warm. For one who’s born as a Master, Magdalene (aside) Magdalene Receives from his Masters no helping hand. (She crosses the street with Magdalene.) I was too hard; now he’ll be pining. What? Me? How great would be David’s jealousy! (Sachs looks after her.) He sleeps by the street there – Hi! Hi! what fun! Magdalene Eva Your father calls. Sachs No one in sight? Eva (I thought as much, now I must help!) I hear footsteps. Eva (still more urgently to Sachs) Magdalene Can I not be told Magdalene It sounds like someone coming. Magdalene (to Eva) If none of the Masters, the Knight would My dear, why are you out so late? Come in, now you must. uphold? Your father called. Eva Walther! Eva Now nearer!

106 107 Magdalene Eva Ev’rywhere judges, Markers with grudges, Eva You’re wrong, there’s no one there. Oh how wrong! Her hand alone Out of the alleys, making their sallies, The Masters’ decree. Now in you come, till your father’s in bed. Will give the victor’s prize, Crowding and hustling, Masters are bustling; And as thy heart now lives in mine, In jeering grimaces, twisting their maces (She disappears with Magdalene into the house.) Pogner (Pogner’s voice from inside) Now shall the crown be thine. In circles about you, so to flout you; Ho! Lene! Eva! Snuffling and screeching, your hand beseeching; Nightwatchman (The Nightwatchman passes by.) Walther As Master’s plaything, on the chair they place Hark to what I say, good people, Magdalene Ah no! Th’art wrong, my lady’s hand, you, The clock strikes ten in the steeple; ’Tis high time. Listen! Though no one else should gain it, Trembling and quaking, there to disgrace you! Keep guard now, over your fire and light, Come! It cannot be he! Yet if thy father’s will must stand, And I must bear it, tamely attend them, That none may take harm this night. Never may I attain it! Dare not raise a hand to slay them. Praise ye God the Lord! (Walther appears.) ‘A Mastersinger must he be! He who is crown’d and none but he!’ (The horn of the Nighwatchman is heard.) (exit) Eva Those words your father firmly spake, 10 He’s here now! Though he should wish, he cannot break! Eva Sachs (who has listened to the conversation from That promise gave me hope; Beloved, curb your scorn, behind the door) Magdalene And all around me was transformed. That was the nightwatchman’s horn. Now some mischief seems to be planned. The time has come to use our wits! I sang, by love inspired, Under the linden, hide yourself quickly, Is an abduction near at hand? (She enters the house.) That I, the Master’s crown might gain. For here the watchman will pass. I’ll watch out! This must not be. Ah, my own love, ah my true love! But all these Masters! Ha! These Masters! All I tell thee, for thou knowest; All these rhyme‑besotted, old‑fashioned poets. Magdalene Walther All compels me and I know it: With shame and fury my heart is fired, Eva, now come, it is time. Will she not come back? Oh, what pain! You are truly Hero, Poet, Cursing the pitfall to which I was lured. (Eva comes in Magdalene’s dress out of the house.) And my only friend. I must seek freedom, Walther But look is that she? Back in my own house where I am Master by Oh, stay! Ah no! ’Tis the older one. Walther right. (Eva sees Walther and hastens towards him.) Ah, th’art wrong, thy friend am I, Will you come with me? Eva Yet surely; yes! But as Poet not yet worthy, I bring you freedom, come and leave here tonight! I must be gone. And the Masters all do spurn me. All hope has left me, Eva All my passion met with scorning, There’s no choice before me! Walther The foolish child, she’s here now! Here! And I know it; vain my yearning Ev’rywhere Masters, like evil creatures, But why? For my lady’s hand. Round me they’re flocking, jeering and mocking,

108 109 Walther (carried away) Eva Eva Come let us hide beside this wall here! But no more delaying, gazing in your eyes, But we must wait till the cobbler goes. Ah! my distress! Ah, me what trouble these love can bring! I know I’ve won the Master‑prize! Walther (As Sachs hears the lute he withdraws his light a (She draws Walther under the lime tree.) Eva I’ll make him turn from his window. little.) Away now! Away now! If only we were gone! (Beckmesser strums loudly on his lute, and when he Eva Walther is prepared to sing, Sachs strikes a heavy blow with Walther Keep out of sight, he knows you. What do you fear? his hammer.) Here, through the alley, then; ready beyond the The cobbler see, has moved his light: gate, Walther Now let us go! Sachs Squire and horses wait. The cobbler? 12 Jerum! Jerum! Hal‑la‑hal‑lo‑he! O‑ho! Eva (Beckmesser springs up angrily and perceives Sachs (As they both turn to go, Sachs opens the shutter Eva Ah! See you not there, at work.) so that Eva and Walther suddenly find themselves ’Tis Sachs. Another comes and takes his stand? Tra‑la‑lei! Tra‑la‑lei! O‑Ho! clearly illuminated.) Walther Walther Beckmesser Eva (hastily drawing Walther back) Hans Sachs? My friend! I hear and see: he has a lute; What can that be? Accursed noise! Alas, the cobbler! But why’s he here so late at night? If he should see! Eva Sachs Hide, now keep from out of his way! Not so! For he speaks of you only to flout you. Eva As Eve from Paradise was cast, ’Tis Beckmesser, Ah! Her sin she soon repented, Walther Walther For, limping o’er the stony path, What other way leads to the gate? 11 What? Sachs? He too? I’ll put out his light. Sachs (Sachs overhears Eva’s cry) Her feet were sore tormented. So I was right! Eva Eva Beckmesser Round by the street there; No, No! But hark! Walther What’s on that stupid cobbler’s mind? But how it goes, I’m not sure I know, The Marker? He? and here in my power? And there we’d be seen by the watchman. (Enter Beckmesser, who begins to tune his lute.) Then on, he’ll get what he deserves! Walther What can he mean? He sings your name. Walther Walther Eva So then, through the alley. That’s a lute I hear. Now God forbid! Would you awake my father? He’ll sing a song, and then he’ll go

110 111 Eva Beckmesser Beckmesser In Art your worth, I also heard; it is not I; Oh God, she will think ’tis I who sing! Good lord! ’Tis she! In Art your place is first on earth. Yet hidden malice I can hear. Sachs Walther (taking his hand from his sword) Walther Walther Eva, hear my tale of woe Scarce worth the while. That’s turning the tables! I can’t help laughing. Why must we stay? The time goes by! And let us mourn together! If only he would begin his story The world condemns the cobbler’s soul Eva Sachs And tramples on his leather! Yes, patience is best! (Walther and Eva follow the scene between Sachs That filled the Lord with woe, Without an angel there, and Beckmesser with growing interest.) Her feet he cherished so: To drive away my care, Beckmesser And then an angel He did choose And call me up to Paradise, Now if he sings longer, I shall be lost. Beckmesser (Beckmesser strums repeatedly on To make for her a pair of shoes; I’d leave this work that I despise! his lute) And since poor Adam, as I know, But when enthroned in Heav’n on high, Eva Your judgment, too, is seldom wrong; Against the stones had stubbed his toe, The world beneath my feet would lie, O best of men! I beg you, hear this little song; To help him walk without a care, Then, born anew, That I should cause you so much pain! For help from you, I’d gladly borrow, He made for him another pair. Hans Sachs a shoemaker and a poet too! That I may win the prize tomorrow. (Beckmesser comes up to Sachs playing his lute Beckmesser Beckmesser sideways, as to Magdalene at the window.) Sachs What? Master? Up? and so late at night? (The window is opening!) A‑ha! Flattery will not hold me! Beckmesser Ne’er again will I let you scold me. Sachs (Magdalene, in Eva’s dress, cautiously shows herself.) Friend Sachs! Let me but speak a word! For since your cobbler took to verse, Why Beckmesser, not asleep? The shoes he makes have grown worse and worse; Your shoes cause you a needless worry! Eva Walther (to Eva) Unsound throughout, they flap all about! You see they’ll be done, if I but hurry! His song so pains me, I know not why! Who’s at the window? Therefore on verse and rhyme, no more I’ll waste Away! let us hasten! my time, Beckmesser Eva My skill, my wit, no longer I’ll use, Give the devil the shoes! Here. I want peace! Walther ’Tis Magdalene. So that tomorrow, you’ll have your shoes! Yes, now, with my sword. Sachs Beckmesser Beckmesser Jerum! Hal‑la‑hal‑lo‑he O‑ho! Eva Why let the shoes so much distress you? No, let that be! ’Twas only a jest. Tra‑la‑lei! Tra‑la‑lei! O‑he! Not that! Ah, no! I give my word, I’d clean forgot them. My true feelings you might have guessed. As shoemaker I know your worth, The folk think well of you,

112 113 And the maiden esteems you too: Beckmesser Sachs The art of Marker, I would be learning. When for tomorrow’s Prize, Oh, you base, black-hearted rascal! For Heaven’s sake, then, sing on, In that you have no peer, ’tis true: I sing to win her favour, More tricks like this you’ll not play here! While soles for your shoes I’m making. How could I learn, if not from you? In vain, I would endeavour, Now at once, stop all that howling, Then sing away, and I will mark, If my song she should despise. Or you’ll repent your trick I swear! Beckmesser And still make progress with my work. So listen now to me and tell me honestly, (He strums furiously.) But, you’ll keep quiet? Where it is right and wrong, You are always so envious: Beckmessser And I’ll improve my song! Though you think yourself so clever: Sachs Mark for me, then, and if I go wrong, That other men have wits, always enraged you: Oh, please sing on! Score with your chalks, as I sing my song. Sachs But I know you well and can see through you! My cobbling, look, is not yet done! Oh, that could never be; That you cannot play the Marker’s part, Sachs How could such honour fall to me? So grieves your cantankerous, cobbler’s heart. Beckmesser No sir! With chalk, can no shoes be nailed. If nought but doggerel rhymes I can stammer, Ah, well, so long as Beckmesser sings; That accursed knocking passes all bearing. With my hammer on the last – I’ll mark where Then doggerel rhymes I sing, as my leather I While a single rhyme to his lips he brings; you’ve failed. hammer! So long as I, among Masters, am famed, Sachs Jerum! Jerum! Hal‑la‑hal‑lo‑he! Though Nuremberg bloom and wax, How else can your shoes be fit for wearing? Beckmesser I swear to you, Hans Sachs, (Accursed malice! God, now it’s late! Beckmesser Never shall you as Marker be named. Beckmesser I must strike up soon or the maid won’t wait!) Accursed rogue! All my senses leave me, How can I sing through so much clamour? Amid his song that reeks of blacking. Sachs (Sachs has listened to him quietly and (He strums eagerly.) attentively.) Sachs Sachs Was that your song? Yours is the song, mine the shoe and hammer! Sachs O‑ho! Tra‑la‑lei! Tra‑la‑lei! O‑he! Now begin, time flies, or I’ll sing again. Beckmesser Beckmesser Beckmesser The devil take it! I don’t want the shoes! Beckmesser Silence! You’ll wake the neighbours up. No, not that! Be silent! Sachs Sachs (The Devil! How troublesome!) Sachs The rules were lacking, but brave the sound. That’s where you’re wrong, Now if you’re going to mark, you must watch me, They’re used to it, they will not stir. For tomorrow you’ll sing a different song. That’s right, just strike with the hammer when ‘O Eva, O Eva!’ Beckmesser But wait! Perhaps it can be done; you catch me; Will you not listen? As partners, we can work as one. But you must abide by the rules alone; Though to your shoes I must keep turning, Do not mark phrases the rules may allow.

114 115 Sachs Sachs Beckmesser ‘Why think I of this day, On the cobbler’s rules, then, I take my stand, But why so far? Pray how would it rhyme, then, It other days doth excel? Though his work is burning beneath his hand. With ‘Now dawning daylight?’ Loudly to all I say it, Beckmesser That I love a damsel. Beckmesser Because the Marker, must not be seen, so says Sachs Whose father gives me truly, By Masters’ rule? the rule. Is accent to you so small a matter? Promises duly, I think the phrase should fit the rhyme! I as bridegroom shall stand. Sachs Sachs Let all who dare, And cobbler’s tool! Won’t hear you from there! Beckmesser Now come and stare, I will not argue! Here upon the maiden so fair, Beckmesser Beckmesser Stop all that chatter, or you will repent! With whom I fondly hope to pair. Never a fault, then: fair and good? My voice is full; more sweetly to your ear ’twill Therefore seemeth brighter the air, sound. Sachs Today in all the land.’ Sachs You’re wasting time. (Sachs has hammered furiously throughout the Then you tomorrow, go unshoed! (He takes his place opposite the window.) foregoing.) Beckmesser Walther (to Eva) Sachs I’m all upset. Sachs (Are we all mad, or in a dream? (How fine!) Ready then! Ready now! Say, are you finished? I’m still there in the School, it seems.) Sachs Beckmesser (Beckmesser tunes down the D string Begin it once more: Beckmesser Sachs which he has unconsciously screwed up in his rage.) Three faults I pass, as marked before. Why ask you now? Sit you down here! 13 ‘I see now dawning daylight that gives me delight true; Beckmesser Sachs Beckmesser (Sachs raises his hammer then strikes.) (I’ll take no notice of what he may say, Since the shoes are both quite ready, now. Stand here, I’d rather. And wakes in me a gay light… heart and As long as she likes the way I play!) I call that a proper Marker’s shoe! courage.’ ‘I see now dawning daylight, My Marker’s poem’s finished too! (The nightwatchman’s horn is heard in the (Sachs strikes again.) That gives me delight true; distance.) Is that a joke? What fault can you find there? And wakes in me a gay, light Beckmesser Heart and a courage new. That I, Master was duly chosen, Eva Sachs I think not now of dying: I’d show to her; Sweet sleep, enfold me like a spell: Better have sung there, Rather of trying a young maiden to win­’ To win the prize I truly burn For good or evil, who can tell? ‘And wakes in me a gay, light heart and courage­’ (Sachs strikes with his hammer several times.) With thirst and hunger.

116 117 The Nine Muses I summon, David Magdalene Come on, there’s fighting close at hand; That they may come on Who ever’s this? Oh, heaven! David! Good Lord! what ill‑luck. All journeymen, come take your stand. And my attainments prove. (sees Magdalene) Oh, stop them! They will both be dead. ’Tis the weavers! ’tis the tanners. I’ve kept the rules exactly, And who’s up there? The bargain‑spoilers, now tan them well. Measure and beat I know; That’s Lene, there, it’s her, I’m sure. Beckmesser ’Tis as I thought! always at their games. And if my song goes roundly, Good Lord, ’twas he! Accursed knave! let me go free! Still they come, the fight is getting hot. Some slips may be let go, She told him to come. There, the butcher, Klaus, I plainly see. If with heart, full of terror, This then, is the fellow that she prefers. David The fifth is tomorrow. He makes some error, Wait till I begin! Not yet! I’ll thrash you ’til you can’t stand. Somewhere there’s a fire. Who seeks for a maid’s love. I’ll polish your skin. Hey, there go their cudgels. For, by the Muse, Magdalene Tailors with their measures. My skin I’d lose, (David comes back armed with a cudgel. More and David! are you mad? Now let us gaily go and joy the fray. My office, rank, the goods I use, more neighbours open the windows and look out.) Hear me, David! Let the Marker there, go free. Hello! now get you gone! That you, the prize should not refuse, He has not done me harm! We get here just in time. And me, the young damsel should choose Kothner and other Neighbours Good Lord, he has him still. What, would you, then, block the way If she, my song approve. Who’s howling there? Who cries so loud? Lord save us all, if this cannot be stopped. By force against us? late at night, is that allowed? I can’t hear my own voice. Make room we come to fight. Sachs Keep quiet there! It’s time for bed. David! ’tis Beckmesser! Girdlers! Tinkers! Pewterers! Wax‑boilers! By long and short strokes beaten, That donkey’s bray would wake the dead, Glue‑boilers. Get you gone, yourselves. Upon your sole ’tis written; Ah! hear but how he brays! (More and more people enter.) Never waver! knock them over! Now read it well Go and try some other place. Cloth‑cutters! Flax‑weavers! And what it tells, Neighbours Come along, if you dare. Remember evermore. (The neighbours have come down to the street Look out! Come on! Get you home yourselves and go to bed. Good song keeps tune and proper rhyme, in their nightclothes. Sachs watches the growing Two men are fighting there Comrades, comrades! All the Guilds, come out! And lest your pen forget it, tumult. David throws himself on Beckmesser.) You there, let him go. Upon your shoes, I have set it. Let go your hold, or we’ll fight, too! Neighbours Now take your road; David At once, let one another go! You’re rightly shod; 14 The devil take your song, accursed rogue! (They begin to fight amongst themselves.) What seek you here? What’s that to you? These shoes will fit your feet, What have they done to you? Their soles will mark the beat! Journeymen All know you well! They know you better! Hey, all you fellows, there! Donkey! Stupid! are you afraid, then? (David opens the window.) The sound of strife and blows, I hear. What! has your wife been cross?

118 119 That for the payment! Do you wish to speak to me? Are your heads all full of wine? (Eva and Walther have been hiding from the fray See how the cudgels fall! Be still! Am I meant to speak to you? Oh! – alas, what a sight! and they now try to escape.) Blockhead I take that! See, that one there, Have you then, all gone mad? What, not yet found your wits? His nose is everywhere! Look at Christian beating Peter black and blue! Walther You rascal, let me catch you, Still they’re coming on. Gaily, bravely! Look at Michael there! Now comes the time! Then I’’ll pay you out. And now the fun begins! His club gave Stephen one! Let us fight our way through. Take that for payment. Hey! there goes! Crack! Murder! Hans has got a broken head. Short‑weight! I’ve owed that, long. One for your snout! Lord, I am certain they will kill my boy! (The Nightwatchman’s horn suddenly rings out.) Take yourself home, you’ll catch it from your wife! Crack! like a thunderclap. How they wrestle, how they stagger to and fro! What’s that to you, if I won’t go? Where that fell, the hair won’t grow soon. Lord save us all, if this fight cannot be stopped. Pogner (on the steps) Send home the journeymen! Like hailstones now, the blows come down. Hey! my husband boldly joins the fight! Ho! Lene, where are you? Hold your noise! Knock them over. They’ll soon be bloody heads, arms and legs. Not one, her own voice can hear. We won’t give way. Never waver! Let them all get home who will not fight. Lord, what ill‑luck! Sachs Hold your own, though journeymen should The heads and pigtails waggle up and down! Go in, Mistress Lene. (The confusion increases.) come! Franz, have a little sense. If you give way, ’twould be a shame. Ah! how will it finish? (Eva and Pogner go into the house. Sachs leads Apprentices Hey! Hurrah! Freely and merrily lay on We cannot hear a single word. Walther into his own house. The crowd quickly Come on! They’re fighting here. Strike with might and main. What a clatter! Up! bring us water here! disperses and the windows of the houses are closed ’Tis the cobblers. ’Tis the tailors. All stand together, like one man. Pour water on their heads below. up. The Nightwatchman enters.) Drunken wretches. Starving beggars. Quick! call the Watchman! We know the locksmiths! (The street is full of a struggling mass of people.) Cry out ‘murder!’ and ‘fire’! Nightwatchman Surely they’re the ones who started this. Call for help and call out loud. Hark to what I say, good people. I know the joiners there Women Quick! Water here! Water here! Eleven strikes in the steeple. I see the butchers there! If only father were not there! To the window! to the window! Defend yourselves from spectre and sprite I know the barbers at a glance! My husband, surely will be there! Ever madder grows the riot, That no power of ill, your souls affright. Come on, come on and join the dance! Look over there! The noise and strife Wrangling, fighting! Water is our only help. Praise ye, God the Lord. Still they come! They’re at it, tooth and nail, Freezes up the blood. Bowls and buckets! pots and pitchers! Grocers, too! a timid band, Listen, you below there! Fill them full and pour them on their heads! (The moon shines out on the empty street as the With barley‑sugar sticks in hand, Do have a little sense. Nightwatchman goes slowly off.) With pepper‑corns and cinnamon! Are you then, all alike, Pogner (appears in his nightgown at the window) They smell alright but spoil the appetite! So ready for a fight? How now! Eva! Come in! They smell alright, but hesitate to fight. There, my man’s in the fight! I’ll see below if all is well!

120 121 compact disc three And when I saw last evening, a man outside the David To Nuremberg returning, house, (Bachelor party? Now trouble’s in sight!) She soon found in her native land, Act III Who sang to her and howled like mad, Forgive me, Master, forget, I pray! That he who took, by Jordan’s strand, I fell upon him tooth and nail Today is St. John’s Midsummer day. Johannes, for his name. 1 Prelude Why make so great a matter of that? On the Pegnitz, changed to Hans, Besides, for our love, it has turned out well Sachs Hans? Hans? Ah, Master! Inside Sachs’ workshop. The morning sun shines And Lene has explained the matter to me, Midsummer day? It is your Saint’s day too! through the window. David comes in from the street And today, ribbons and flowers sent to me, How could I be so forgetful now! as Sachs is reading a large book. Ah, Master, speak one word, I pray. David Here, take these flowers – (If I’d only thought to take the food away!) (Deaf he must be!) They are yours. David The ribbons, and now, what else have I got? 2 Here, master, here! (Sachs has read on undisturbed. He now closes his Sachs Oh, yes, look Master, look at this pastry! The shoes were taken early to Master book.) You know your verses? Then sing to me! And here’s a sausage, oh, won’t you taste it ? Beckmesser’s house, I thought just now you were calling? Sachs David Sachs (quietly, without changing his position) (aside) Flowers and ribbons do I see? My verses? Yes, you will see. Best thanks, my boy! Keep them yourself. (He acts as if I were not here! They look so fresh and so fair. (’Tis well! The Master is pleased with me.) To Festival, with me shall you go. He must be cross, or he would speak.) How do they come to be there? ‘St. John baptized in Jordan’s Tide…’ With ribbons and flow’rs and fine array, Oh, Master, won’t you forgive? You shall go as my Page today! Did a perfect prentice yet live? David Sachs If you knew my Lene as I, Ah Master! Today’s a festival day, What’s that? David Your forgiveness, you’d not deny. When each one dresses as best he may. Might I not be your best man instead? She is so good, so sweet to me, David Master, ah, Master, once more you must wed. And looks at me oft so tenderly. Sachs Forgive me again! I sang you the bachelor party When you are harsh, then she is kind; Is it a wedding day? tune. Sachs Her smiles would drive all care from my mind; ‘St. John baptized in Jordan’s stream Would you have then, a Mistress here When I am hungry, she brings me food, David All folk of ev’ry nation; And she is always so sweet and good! Ah, so it could be, if Lene would marry me! From Nuremberg a woman came David But last night, when she heard of Sir Walther To seek from him salvation; The house would look so much finer I’m sure. She took away the basket I longed for. Sachs Her little child was by her side, That made me sad; A bachelor party was last night? And took both time and blessing, Sachs Then glowing with maternal pride, Who knows? But time may tell.

122 123 David For only grief is their reward; Some spirit wove the spell. Sachs Time’s here. They fly the fox, yet think they pursue him. A glow worm sought his mate in vain; My friend, that is the poet’s task Hear not their own wild cry of pain, From him it was, the mischief came. To seek in dreams, what comes to pass. Sachs When their own flesh, they tear and maim The scent of trees, Midsummer eve! In truth, the deepest wisdom man has known, Then may the answer soon appear. And glory in their anguish! But now has dawned Midsummer day! Has been what dreams have shown. For this, how find a name? Now let us see what Sachs can do, All verses that our poets write, David The folly’s still the same. So that the folly may be turned Are truths, that dreams have brought to light. Of course! Ev’rybody says the same thing, It haunts our footsteps ever, And used for nobler work. Did not your dream suggest a way That Beckmesser will have no chance if you sing! And spoils our best endeavour! For if it still can lurk, To win the Master’s crown today? I think that today, he will not succeed. Stayed in its course, E’en here, in Nuremberg. It sleeps, but greater strength to gain: We’ll set it such a task Walther Sachs Soon it awakes, and lo! As seldom can succeed without it, But, from your Guild and all its Masters, Quite likely, That was also my thought, Who can restrain it then? And needs one who is mad, to start it. My dream would bring me new disasters. Now go, disturb not Sir Walther’s rest. In peaceful ways well grounded, (Walther enters.) Come back again, when you are dressed. Content in fruitful work, 4 My friend, good morning! Rested I hope? Sachs By friendly folk surrounded, Your night was short, I trust you slept? Yet might it teach the magic spell David My cherished Nuremberg. To make you Mastersinger? (He was always so kind, though never like this. But on an evening late, Walther Now the feel of his leather strap, has gone from A maiden and her lover A little, but my sleep was good. Walther my mind.) Their youthful passions discover, Can you think, since what befel, And then, careless of fate, Sachs That any hope may linger? (David puts his things together and goes inside. A shoemaker interfering, So then you rise in better mood? Sachs’ talk with David does not seem to have Sets the old folly stirring: Sachs disturbed his own meditation.) Then soon his neighbours awaken, Walther Yet hope is still within me burning By rage and anger shaken, I had a rare and wondrous dream. It fills my heart to overflowing. Sachs (alone) Man, wife, and youth and child, Were’t not so, ’stead of your flight delaying, 3 Fools! Fools! Ev’rywhere fools Rush to the fray, as though gone wild; Sachs I myself with you, now were going! All vainly, do I look and seek, in ancient book, And Folly brings its blessing A welcome sign: what dreamt you pray? I beg you no more anger feel! The cause of these delusions, Of strife and blows unceasing, You have with men of honour to deal. That drive men on to fight, Each fellow must belabour Walther They make mistakes, all unawares, And fill their minds with confusion With furious rage, his neighbour. I dare not think what it could mean And think the only right way, is theirs; And aimless, crazy spite! God knows how that befell For fear that it should fade away. And surely, a man who grants a prize,

124 125 May ask, what he finds pleasing in his eyes. Through summer, autumn, winter’s chill, Thus to recapture their youthful rapture Sachs Your song has filled them with dark dismay; When cares of life are pressing, And keep the mem’ry fresh and true, The two are friends, not far apart. And with good cause, for, truth to say, Though marriage brings its blessing, Of all the Springs, that once they knew. A song, so full of poet’s passion, Children and business, strife, ill‑will, Walther May kindle our daughters, in wicked fashion. Only those, who still have kept then Walther But how should I by Rule begin? But to praise, long, lasting, married bliss, This gift of song, from heaven, But when their Spring had long been over, We’ve other words and tunes than this. Then Masters they will be. What then, could they, in dreams recover? Sachs First make your rules, then follow them. Walther Walther Sachs Think only of your dream of beauty: I know what you mean; I’ve heard them too, I love a maid and long to prove, On dreams we feed, as best we can, All else, shall be Hans Sachs’ duty. For only last night they rang through the street! In lasting wedlock, all my love. So let me, as a humble man, Teach you our Rules of Singing, (Sachs writes down Walther’s poem as he sings.) Sachs Sachs In them, you may find new meaning. Yes, Yes, That’s true! Then let the Master’s rules now speed you, Pen, ink and paper, ready you see: Walther My beating, mind, you heard that too! That they may truly guide and lead you, I’ll write the words you sing to me! 6 ‘Warm in the sunlight, at dawning of day, But let that go, and hark to my counsel! And help to keep untainted, When blossoms rare, made sweet the air, Short and good, fashion to a Master‑song your What youth and spring have planted Walther With beauty glowing, past all knowing, role! Amidst youth’s pleasures. I know not how I shall begin. A garden round me lay, So the treasure, Cheering my way.’ Walther Deep in the heart in secret laid, Sachs A beauteous song, a Master‑song: Through pow’r of song, shall never fade! Think only of your morning dream. Sachs I’ve always thought that they were one. That was a ‘Strophe’, now heed my word, Walther Walther That one just like it, must now be heard. Sachs Tell me, then, if so high they stand, Through all the rules that you have taught, 5 My friend, in joyful days of youth, By whom, of old, the Rules were planned? It seems, my dream has come to naught. Walther When first our souls are captured, But why, just like? By joy of love enraptured, Sachs Sachs When hearts are beating, proud and high, By Masters, worn by pain of living, Then you, the Poet’s Art must try: Sachs The gift of song is given, With world’s distress and anguish, striving: Dreams that are lost, can be found thereby: That men may know, To all, by kindly heaven: By heavy cares o’er‑weighted, A wife like yourself, you’ve chosen so. ’Tis spring that sings, not we, A vision they created, Walther Was it no dream, but only Art?

126 127 Walther Bride‑like she came and folded me fast on her With swelling tone, so full and sweet, Your squire, has now come hither bearing ‘High o’er the garden, a tree did arise; breast; Sparkling and bright; new gathering stars An angel, must have shewn the nest Its golden store, its branches bore, Her hand uprising and gently gazing, On me gleam, as gaily dancing, In which his master dreamed. So richly thronging, stirred my longing, Where shone the fruit’s golden hue, Through branches glancing So, to your room, now follow me. When in the verdant shade, She shewed the place where grew Their golden lustre they shed; With garments richly trimmed, I saw the prize.’ The laurel tree.’ Not fruit, but stars, o’erspread Should we both today, apparelled be; The laurel tree.’ Since Fate has called to daring deed. Sachs Sachs (moved) Now come, if we are both agreed. You ended in another key, that Master’s blame In truth I call that an Aftersong! Sachs you know; See, how the verse now flows along! Friend, your dream told you the truth, (Sachs leads Walther into the interior room.) But I Hans Sachs your meaning see, But with the melody, you were a trifle free. And bravely, you sing the second verse. In Springtime it must be so. Now, I don’t say that seems a fault to me. Make a third one now, to show more clearly, 7 Interlude Now sing to me an ‘After‑Song.’ Just that, at first, it’s perplexing, Your vision’s meaning, in all its glory. And to old men, that is vexing. (Beckmesser appears in great perturbation and, Walther A second verse must you now compose, Walther finding the shop empty, he enters hurriedly. He is What does that mean? To fix in mind, how the first one goes. How can I now? Enough of words! still smarting from his discomfiture of the night But still I’m not sure, so good does it seem, before and at length, his glance falls on a paper in Sachs How much is poem, and how much dream. Sachs Sachs’ handwriting. He takes it up, out of curiosity If you succeed, in mating this a good pair, Then deed and rhyme, at proper time! and after reading it with growing excitement, he The children will be so fair, Walther I beg you, well the tune remember; breaks out in fury.) The stanzas similar, not the same, ‘Sunset was glowing with heavenly light, Right well it goes, with such a theme, With their own rhyme and tone and name; O’er dying day, while there I lay; And when before the folk you sing it, Beckmesser All must be neat and perfectly styled, My heart on fire, with one desire, Hold fast in your mind, that morning dream. 8 A Trial Song by Sachs! Is it true? All parents welcome such a child: From eyes so wondrous bright, Ha! now all is clear to me. And your fine stanzas make an end, To drink delight. Walther Where all things together may blend. Night close around me to darken the place What is your plan? (Sachs returns, dressed for the Festival and Afar, yet near, two stars appear, Beckmesser hurriedly stuffs the paper into his Walther In day’s declining, softly shining Sachs pocket.) ‘How shall I name the radiant wonder there Their balm of heav’nly grace Your trusty squire revealed? Falls on my face. Followed you here, with your attire; Sachs A woman fair, my vision blessed, There, on a height, a crystal fountain at my feet, The clothes, that for the wedding feast at home What you, Sir Marker! Here so early? Her peer, no mortal e’er beheld: From earth outpours its limped stream, You would be wearing, Your shoes do not still give trouble, surely?

128 129 Beckmesser To win the Goldsmith’s treasure, Sachs Beckmesser (producing the paper) The devil! So thin, worse than you made before; And so, before the Guild, Good friend, your wits are overcast. Is this not your hand? Through them I feel the smallest stone! Our ears with stuff he filled; Think what you will, of what is past: A maiden’s fancy fooling, Through all your jealousy, you’re blind Sachs Sachs That she might heed his schooling For wooing never crossed my mind. Ah, was it that? On Marker’s art, blame that alone; And, to the shame of all, Marking your faults has made them so thin. Her choice on him might fall. Beckmesser Beckmesser And so! And so! Ah, now I know, That’s a lie! I know you better. The writing is fresh! Beckmesser With voice and hammer ringing, Now, no more tricks! Though your wit is keen, You sought to drown my singing, Sachs Sachs I know, friend Sachs, just what you mean. Lest she should understand, What fancy is this, Master Beckmesser? And the ink is still wet! Your trick of yesterday, you will not soon forget. Another stood there at hand. What I have in mind concerns you not; So that I should not obstruct your way, Aye, Aye! Ho, Ho! ’tis even so? But trust that no wooing was in my mind. Beckmesser You’d rouse the neighbours and make ’em fight. Directed by your cunning, May be, ’tis a biblical song? The boys, in packs came running Beckmesser Sachs With cudgels for the fray, You will not sing? Sachs ’Twas a bachelor party, let me remind you; To drive me from your way! To count on that, you would be wrong! And the folk today, a bride may assign you: Ow, ow! I’m black and blue, Sachs The madder the fun, you see, And shamed before the maiden, too! Not as suitor. Beckmesser The better your luck will be! With tooth and nail, they tore me: Well then? Ne’er a tailor could restore me! Beckmesser Beckmesser Suspicions fill me, Not sing, today? Sachs Oh, cobbler full of cunning, They meant to kill me! How now? I see such trouble coming Yet, by luck I got away, Sachs You always were my foe, That I my debt might pay. You need not fear. Beckmesser And now your craft I know. Go forth, when all assemble, You ask? The maid for whom I’ve waited, Today your voice may tremble. Beckmesser For me alone created, Though I’ve been thrashed, But what if I have a proof you mean to? Sachs All widowers to shame, Don’t laugh too soon, What more? On her you fix your aim! For I can still put you out of tune! Sachs (looks on the table) ’Tis Master Sachs’ pleasure, 9 It was here, the paper! You took it then?

130 131 Beckmesser Sachs And yet, if this were another trap? Beckmesser That you, with your integrity, Yes, if you dare! But yesterday, you were my foe: Friend Sachs, as poet, you have first place, The worst of rogues and tricksters I find. How is it, after all that has passed, But when Tones and Modes are in hand, Beckmesser I find, in you such a friend? Confess, that I need have no fear. Sachs And if I succeed? Then open well your ear, May be; but yet, I was never known Sachs And ‘Beckmesser! No one better!’ To pocket things I did not own. Sachs I sat up late your shoes to make, And all your doubt will cease, And so, that you may not be called a thief, I’ll be surprised, I swear, Who would do that for a foeman’s sake? If you’ll just let me sing in peace. To save you from that, I give you the leaf. But now I must learn it well by heart: Beckmesser (with complete trust) Beckmesser That no time may be wasted, I must depart, Beckmesser You rate yourself really, much too poorly, Yes, quite true! Yet you must swear, Hans Sachs, my comrade, your heart I misread; (Good Lord! A song? A song by Sachs? A song by Sachs! ’Tis worth something, surely! That whenever this song is heard By the Knight of Stolzing, I was misled: But wait, should he try to trick me again…!) And see now! I’m in a mess, You never will say it is yours, We well can spare such as he! The song you have, no doubt, memorised? As no doubt you can guess. And though I should win We Masters, from him, now are free! The whole day I have smarted, You will make no claim. But all my senses scatter and leave me! Sachs To think how I was display’d, Are my wits dazed and all astray? You need have no fear on my account. Thanks to the row you started, Sachs The stanzas, the accents, the measure, the verses! The maiden was surely dismay’d. I swear it, and I give my word, I stay here and chatter, with feet all on fire. Beckmesser How could this poor, battered lover, No claim to that song, Farewell! I must go: we meet again. You give me the song? Find time to write a song? From me will be heard. Thanks in sincerity for all your friendliness; I’m burning and aching all over, Your word is my command, all of your works Sachs It would take me too long. Beckmesser I’ll buy, Your conscience to clear. Wedlock and wooing tender, Could I want more? My troubles over: You shall our Marker be, but only chalk we use; For these I truly pray, Beckmesser now will henceforth live in clover. Mark not with hammer blows! Beckmesser Yet, must all hope surrender, Marker! Marker! Marker, Hans Sachs, To use as I like? If I’ve no song today, Sachs That Nuremberg ever may bloom and wax! A song by Sachs! Ah, surely I know, My friend; I’ve no wish to alarm you, Sachs With that, each hindrance will quickly go. But, quite sincerely, now I warn you (Beckmesser, dancing about, takes leave of Sachs and Yes, if you dare. Let this gift make our peace, then, Study it long and hard, hurries stumbling to the door. Sachs, thoughtfully And happily cease, then, Not easy is the song. smiling, follows Beckmesser with his eyes.) Beckmesser Our quarrels and strife, Be sure you choose the right Mode, The song I may sing? That made us foes for life! Take care the Tune’s not wrong.

132 133 Sachs Sachs Eva Always cobbling, that is now my fate, The man’s malice will not last for long; Oh, that’s a shame! I’ll put it right! More on the instep. By night, by day, both early and late. It cannot endure day and night. Just try to tell me where it’s tight. Child, now hear what plan I have in mind, Though we may often do what is wrong, Sachs That all these hours of hard work may end. We still can tell what is right. Eva What, there as well? Why should I not be your suitor today? The hour of weakness comes for each one, When I stand, it slips away; Some reward as a poet I’d gain that way. Then is the time, when he will see reason. But when I move, it wants to stay. Eva You pay no heed? Come, speak up clear; That Master Beckmesser stole the song, Ah, Master! Do you know better than I You know quite well that was your idea! Will help my little scheme along. Sachs Where the shoe hurts most? Ah, well! I see! ‘Stick to your shoes!’ (Eva enters from the street.) Then on the stool here, place your shoe, Lately I heard a most wonderful song! 10 Here’s Eva! I had wondered where she was! And I will see what I can do. (Enter Walther.) Only today it charmed my ear: (Eva is richly dressed, but she seems pale and sad.) What’s wrong with that? Ah, if only a third verse I could hear. Good day, my Eva! Sachs Why, how splendid you look, how sweet and Eva I wonder why, if it’s too broad, Walther (gazing at Eva) fine! You see, too broad! It still pinches you so! 11 ‘Lured from their dances, the stars glided down, The hearts of old and young surrender, New light so clear, shone in her hair, When you so brilliantly shine. Sachs (Eva looks at Walther.) On her attending, beauty tending, Child, that is only vanity; And round her head there shone a starry crown.’ Eva The shoe fits tight. Eva Master, you flatter me too much; Ah! Sachs (still working) And though my dress may be right, Eva Oh, child! that is a Mastersong. You can’t know what pain I’m enduring, I told you that! Sachs Because my shoe is tight! That’s why it presses my toes so hard. A‑ha! ’Tis here! Now the reason I know. Walther Child, you are right: something is wrong. ‘Wonder on wonder revealed to me there; Sachs Sachs (Sachs take no notice of Walther.) A two‑fold morn, now seemed to dawn, The wicked shoe! But don’t blame me, Here, left? Be patient, to mend it won’t take long; Her eyes in glory, shone before me, You should have tried it on before. (Walther remains standing in the doorway.) Those eyes outshone the sun’s, Eva Stay where you are; I’ll work with the shoe Radiance pure and rare.’ Eva No, right. On the last for a moment, your pain will soon Ah no, my trust was far too great. pass. Sachs (aside to Eva) The Master was not all I thought. Sachs (Sachs gently draws Eva’s shoe from her foot and goes (Such songs are heard now, in my own house.) Here, at the heel? to the work table.)

134 135 Walther Should he by chance, a widower be, But now, I feel the power that tears my will apart, Why I call you near me. ‘Hallowed the scene, A fool he must be, all agree; And were I wed this hour, Since a Mastersong was fashioned newly, That met my ever wond’ring gaze! The youngest maidens, when wooers fail, All choice would be in vain And by Sir Walther, was sung before us truly; The sunlight garland shed its rays, Expect him to listen to their tale; To stem the torrent in my heart He asks if Eva and I would rather, The first pale glimmer was then ablaze!’ He sees the trap, or if he does not, You, dearest Master, would not dare. Attend him as godmother and godfather. (Sachs brings back the shoe.) ’Tis naught if he agrees or not. Since to his song, we both have listened, ‘Loving and mild, her hand And then, if he smells of pitch, Sachs And all have come, that it may be christened, Wove its leaves round my head: They call him fool, rascal and wretch! My child, of Tristan and Isolde, That we who have heard, attest its fitness, Where love has bound me, Ah! Most of all for my prentice, I grieve, A grievous tale I know: Let David and Lene now stand to witness. There fame has crowned me: For no heed to me will he pay: Hans Sachs was wise But, as no prentice, a witness may be, I drink from radiant eyes For Lene’s driving him out of his wits, And would not endure King Marke’s woe. And David today, sang right well to me, All joys of paradise, As she stuffs his stomach all day. ’Twas time I found the man to wed, A Journeyman I will make of him here. In love’s dream.’ Now, they’re hurting him for this delay? Or else, I too, would have lost my head. Kneel, David now, and take this on the ear! A‑ha! now Magdalene is about! (Sachs gives him a smart box on the ear.) Sachs Eva Come along! Ho, David! Time to come out! Arise, ‘my man’ this blow do not forget; Let’s see, now perhaps the shoe is right? 13 O Sachs! My friend! So kind thou art! (Magdalene and David, dressed for the festival, The christening it will fix in your pate. I really think, my work is over! How shall I praise thy noble heart? appear at the same time.) If not well done, no blame is ours: Just try, stand up! Say, how is it now? Thy love alone has taught me, The witnesses here, a christening at hand! Who knows how the need for a christ’ning arose? (Eva, who has stood as if enchanted, bursts into What were I, but for thee? So, for the naming, All take your stand! That the song’s good fortune may not be broken, tears. Walther has come to them; Sachs at length A child, now, would I still be, (All look at him in surprise.) By me, let its name now be spoken controls himself and tears himself moodily away.) Had thou not wakened me. The ‘Heavenly Morning-Dream Love Story’, 12 The life of a cobbler’s nothing but woe! Through thee, my wisdom I have won; So be it named, to its Master’s glory. And were I not a poet too, Through thee, my spirit I have known; compact disc four Now strong may it grow and win each heart, Henceforth, I’d never make a shoe! Through thee, I wake, through thee, And now let the godmother play her part. No rest, never free, to all a slave! I make me noble, brave and true, Sachs Too loose for this one, for that one, too tight! Through thee, I’m born anew! 1 A child has been created, (He moves from the middle of the half circle which From ev’ry quarter, naught but abuse. Dear master, tho’ I’ve wounded you, Let its name now here be stated. the others have formed round him, so that Eva It flaps perhaps, or nips or grips! Yet I know that my heart was true, This is by use, the Master’s right, stands now in the centre.) The cobbler must have skill unending, And if my soul gave voice, and were my heart For when a Mastersong is brought to light, Patch up, what’s in need of a mending. my own; The song by a goodly name they call, Eva Or if he be a poet too, Then thou would’st be my choice, By which, henceforth ’tis known to all. 2 Radiant as the dawning that enchants my sight, For that, not a moment of peace will he know; The prize, thine alone. Now know, worthy people, who hear me, So, this lovely morning promises delight:

136 137 Dream of endless glory, heav’nly morning glow: So gently confides in stillness here, (to Walther) We would have lost our town for good, Who can tell the story? Who the meaning show? Makes it so clear. 3 Now, Walther come! You must be brave! Without a tailor to hand. In this music, pure and tender, lies a message of Love of youth, that never dies, David, my man, see that all is safe! Boldly then this trick he planned. gladness, Blooms only through Poet’s Prize. In a goatskin safe himself he sews. And it eases my heart’s sweet pain, (As Sachs and Walther go together into the street, On the wall, to take a walk he goes, Mingling joy with sadness. Magdalene David sets himself to lock up the shop doors. The And there so gaily springing, Is it but a morning dream? Is this a vision or a dream? orchestra continues to play throughout the change He sets the welkin ringing. I hardly dare to hear its theme, I cannot tell what it may mean, of scene for the last Finale. When the curtain rises The foe make off with flying feet: But this melody confided gently to me here, Are my senses so deceived? again, the scene represents an open meadow on the The town they deem the devil’s seat, Bright and clear in the Masters’ Guild shall rise, What I see, I can’t believe. banks of the river Pegnitz, thronged with parties of Where goats yet so merrily bleat, There to win you the highest prize. He, no longer an apprentice? Burghers of the different Guilds and their families.) Who’d think that a tailor would have such wit? I, his bride, before the altar, at his side? Walther Ah! I know it! My heart sighs! Shoemakers (The Bakers, coming on with their banner flying.) Love alone has brought me sudden gladness, He, as Master, shall rise. 4 Saint Crispin, Saint Crispin! Easing all my pain. Yes, I know it, he will soon as a Master rise! He was a holy man, Bakers A joy that mingles with sadness, Did all a cobbler can. Famine dread! Famine dread! Is it still the morning dream? David The poor then had a merry time; From that, may God defend us Dare I think what it may mean? Is this a vision or a dream? They all wore well-made shoes; Bakers must bring us our daily bread, What this melody, once again to me confides I cannot tell what it may mean. If leather lacked, he turned to crime, Or hunger soon would end us. In stillness here, bright and clear, Are my senses so deceived? And stole what he could use. Wheat makes the bread we eat: In the Master’s Guild shall rise, What I see I can’t believe. A cobbler’s conscience is not queasy, So hunger we defeat. There to win me the highest prize. I, no longer an apprentice? And little makes him feel uneasy, She my bride? Before the altar, at my side? When from the tanner the skin we get, (Next comes a group of young girls in rich, peasant Sachs Now, my heart in answer cries, Then beat, beat, beat! dresses. The Prentices run to the back.) To this lovely child here, I long now to sing of Win the Master’s prize! Leather serves but to shoe our feet! sadness, Master! I will soon as Master rise! Apprentices But must hide my heart’s sweet pain, make (The town watchmen come on, followed by the town Look here! Maidens from Fürth! pretence of gladness. Sachs (turning to the others) pipers, lute makers, etc.) Town pipers, play! and make us gay. Such a wondrous morning dream; Now let’s be off! Your father greet! Dare I think what it may mean? Off to the fields! There shall we meet! Tailors (The Apprentices dance with the girls. David comes But this melody, once again, (Eva and Magdalene go.) When Nuremberg a siege withstood, forward and looks on disapprovingly.) And famine filled the land,

138 139 David (The Prentices arrange themselves to receive the (The people resume their jubilation.) Think well, how rare a prize it is, 5 You dance? Look out if the Masters see you! Mastersingers: the people freely make way for Hail! Hail! Hail! That all may surely bring her, (The prentices make fun of him.) them. The procession reaches the platform, where Hail, to thee, Hans Sachs! A heart and voice, both pure and clear, Don’t care? Well then, make room for me too. Kothner plants the banner: Pogner leads forward Hail, Nuremberg’s Sachs! As suitor and as singer. Eva by the hand. She is accompanied by girls richly Let this your hearts embolden; (David seizes a pretty young girl and joins in the dressed, among them is Magdalene. The Apprentices Sachs (begins in a voice at first veiled by emotion, That ne’er in present times or olden, dance with great ardour. The Apprentices make advance to the platform in proper order and turn but which quickly becomes firmer) Was crown so nobly high upholden, signs to David.) round to the people.) 8 Words light to you, bow me to earth; As by this maiden tender; Such praise is far beyond my worth. May fate from harm defend her, Apprentices Apprentices Only one honour I have, That Nuremberg, her voice may raise for Art, David! Your Lene looks on! ‘Silentium! Silentium! That I am worthy of your love. And in her Masters’ praise! Speak no word, let no sound be heard!’ Already, honour you did pay, (David, startled, quickly lets the girl go.) By naming me Speaker for today. (Great and general commotion. Sachs goes up to (Sachs rises and comes forward. At the sight of him, So hear my speech and heed it well! Pogner.) David all press forward, hats and caps are doffed. All point I shall a tale of honour tell. Stop fooling now and leave me alone! to him.) Our Art, I know you highly prize, Pogner It serves to bring you pleasure, Oh, Sachs, my friend! What thanks I owe! Apprentices People But we who love it in true wise, The weight upon my heart you know. The Mastersingers! ’Tis Sachs. Ha! Sachs! Hold Art beyond all praises. You ventured much, that I can tell. See, Master Sachs! Begin! A Master rich, a man of pride, Now Marker, say, d’you feel well? (The Prentices immediately stop dancing and hurry (All present except Sachs, join in this strophe. Will show the love he professes: to the bank.) Beckmesser, hidden behind the other Masters, His daughter fair, his heart’s delight, (Beckmesser has been constantly taking the poem is busy trying to learn his song by heart.) And all he posesses. from his pocket and trying to learn it by heart.) Journeymen 7 Awake! The dawn of day draws near: He offers this, before you all, The Mastersingers! From green depths of the woods I hear To him, on whom the choice shall fall Beckmesser A soul-enchanting nightingale; To prove that Art alone Oh! What a song! It sounds so strange, David (to the girls) His voice resounds o’er hill and dale; Can win the highest crown. And yet I’ve studied it enough. Goodbye, you pretty creatures! The night sinks down in western skies, So, hark you all, to what I cry. The day from eastern realms doth rise, The poets all are free to try. Sachs 6 Entrance of the Mastersingers The red glow of the dawn awakes and Ye Masters, who will sing today, My friend, you are not forced to choose it. Through the dusky cloudbank breaks. To you, before all folk I say:

140 141 Beckmesser Beckmesser Beckmesser People With mine all is over, I cannot use it. The devil! How rickety! Now make it firm! 9 ‘Bathing in sunlight at dawning of day, Dainty wooer! His due he soon will get. The fault was yours! With bosom bare, to greet the air; He’ll end on the gallows! Help me then to win: (The Apprentices laugh among themselves and ram With beauty glowing, faster snowing, Yes that is clear! To leave me now, t’would be a sin! down the turf. The people humorously nudge one A garden roundelay, wearied my way.’ another.) Mastersingers Sachs (The Mastersingers murmur softly to each other.) Has he gone mad? What is the meaning? I thought you’d give up. People His song is utter nonsense! He woos? What, he? Mastersingers Beckmesser In the maiden’s place, I would not choose him! What is that? He’s lost his senses! Beckmesser (rouses himself with an effort of And why, I pray? Surely she’ll refuse him! But where has he ever discovered such fancies? despair and rage) The others will not stand in my way; Be still, for he’s a skilful Master! This case is so strange! ‘What is her name? If you do not sing. Still, and make no jest! What can he mean? Can that be right? What radiant thunder clearly pealed? He has in council, vote and seat. A woman’s hair, in fashion dressed: Sachs Ah, he cannot even stand! People With clear, immortal air it swelled. That we shall see! He cannot keep his feet! What roundelay? Can that be right? Bridling she came and folded me there in a chest; He is the Town Clerk, Master Beckmesser. ‘Garden roundelay wearied his way’? Intently gazing, her sound was grazing Beckmesser How could he win her hand? You heard? Curious! How can that be? And gleaned the roots old and new: The song by no one will be understood; He’ll tumble soon! Passing strange! Can that be right? She sowed the space with rue, But I bank upon your favour with the crowd. Lord what a fool! The seed of strife!’ Beckmesser (Beckmesser secretly draws the paper (All break into mocking laughter.) Sachs Apprentices forth and hurriedly looks into it then pockets it (Beckmesser rushes towards Sachs.) Well then, if Masters and folk agree, Silentium! Silentium! again anxiously.) Accursed cobbler, yours the design! To hear the Singers we now are free. Speak no word! Let no sound be heard. ‘Sigh for the bard, on a tree did he rise, The song, in truth is none of mine: A golden sore, its branches tore, But Sachs, whom you so much revere, Kothner Kothner (He peeps at the paper.) He wrote the song I sang you here! Unmarried Masters, all be prepared! Now begin! With midges thronging, broke my longing, Now, through his shameful trick I see! The eldest man shall first be heard. When dark and bare, the prize hooked on my His wretched song, he puts on me. Friend Beckmesser, now begin: ’tis time! (Beckmesser blinks with embarrassment and tries to eyes!’ calm his uneasiness with a prelude on the lute.) (He rushes away in fury and loses himself in the (The Apprentices lead Beckmesser to a small mound (He totters and perspires with anxiety.) crowd.) of turf in front of the platform.)

142 143 People Sachs Sir Walther von Stolzing, sings the song! Walther Hey! What can that mean? No one can conceive it! I tell you, friends, the song is fine; Ye Masters, see if he goes wrong. ‘Darkness had fallen and night closed all around; The song’s by Sachs? We cannot believe it! And it should not take you long to divine Alone I strode the rugged road, That friend Beckmesser, sang it wrong, (He gives Kothner the paper to follow the song.) Where on a mountain, rose a fountain Kothner (to Sachs) I tell you, you will like the song, That lured my steps with its sound: Explain, then Sachs! If rightly sung you hear it, Apprentices And there, beneath a wondrous tree, By one who knows its secret; None speaks a word, but all are dumb; Where shining stars were showing, Nachtigal (to Sachs) And he who can show he has the key, Then we need not call out ‘Silentium’. In poet’s dream, there smiled on me, What a disgrace! Will prove himself the poet, With holy radiance showing, A worthy Mastersinger he; Walther (Walther firmly steps on to the mound.) My muse, who from the sacred fount, bedewed Vogelgesang (to Sachs) All who have ears will know it. 11 ‘Warm in the sunlight, at dawning of day, my head. The song’s by you? I am accused, and take my stand: While blossoms rare, made sweet the air, The Muse of Parnass.’ So let me call my witness here to hand. With beauty glowing past all knowing, Ortel and Foltz If one who knows the truth be near, A garden round me lay; Mastersingers How strange the case! Let him as witness now appear! And there beneath a wondrous tree, ’Tis daring, that is true; But good are rhymes and (Walther steps forward from the crowd with With fruit so richly thronging, singing too! Sachs (has quietly taken up the paper which knightly courtesy.) My poet’s dream revealed to me Beckmesser threw down) Bear witness, this song is none of mine, The goal of all my longing, Sachs 10 The song, in truth, is not by me: And witness too, the song is fine; And life’s most glorious prize, Witness true indeed! To the end proceed! Friend Beckmesser’s wrong, you soon will see. That all may agree A woman fair: Eva in Paradise.’ So may he himself, say where he found it: My praise was not too free. People As for me, I dare not boast I wrote it: (Kothner deeply moved, here lets the paper fall. How sweet the strain, how high its theme, A song, like this, so fine in thought, Mastersingers He and the rest listen with interest.) And yet it seems to us as though Never could Hans Sachs have wrought. Ah Sachs, your wit is keen! But you today, again We lived within the dream! will win. Mastersingers Mastersingers Ah, yes, I see ’tis another thing, Walther What? Fine? All that senseless trash? Sachs If you wrongly or rightly sing. ‘Oh, hallowed day, on which my poet’s dream Old rules are best and will stand wear and tear took flight! People And now and then exceptions will bear. People That Paradise, my vision shewed, Hear! Sachs makes fun! Masters and folk, ’tis your will Who would have thought it? Revealed anew in heaven’s light, He says it but in jest. That my witness now shall show his skill? Who could have known? Shining now lay; and there, laughing now, How much lies hid in words and ‘Tone’. A stream, the path did show to where in wonder,

144 145 In radiant splendour, the garden’s maiden so fair, People That brings him such a noble prize? People As Muse before me stood, in holy calmness there. Hans Sachs! No! That was finely planned! This Art our Masters well did guard. Honour your noble Master That maid I boldly wooed; Once more, indeed, your wit the day has gained. They knew its true estate If ye would shun disaster; And there in light of Heaven, And in its spirit firm they stood Let each one hold this in his heart, The prize of song was given, Mastersingers (the Mastersingers solemnly turning Thus have they kept it great; Then may depart, the fame of ancient Rome; Parnass and Paradise!’ to Pogner) And though, not honoured as of old. No change will come to holy German Art. Up, Master Pogner! ’Tis your right. When courts and king its glories told; Hail Sachs! Nuremberg’s Poet, Sachs! People Now as a Master, You name the knight! When strife and turmoil grew, Enchanted by this beauteous dream, Nobly it stood and true; (The people wave hats and kerchiefs in excitement, Scarce can I read its meaning plain. Pogner (offering a golden chain to Walther) And though our art was honoured less the Prentices dance and joyously clap their hands as Grant him his own! His be the crown, Now take from me King David’s shield. Throughout the years of storm and stress, the curtain falls.) Right such as his, none here hath shown. I make you free of the Masters’ Guild. You see, ’tis highly honoured still. Then have the Masters done so ill? Mastersingers Walther (refusing impetuously) Look out, ill times now threaten all; Yes, gracious singer, take thine own! Not Master! No! And if we German folk should fall Thy song hath won the Master’s crown, (He looks tenderly at Eva.) And foreign men should rule our land, One better way to Heav’n I know! No king his folk would understand, Pogner And foreign rule and foreign ways Oh, Sachs! Thou bring’st me peace at last: (All look at Sachs in great perplexity.) Would darken all our German days; Now all my heart’s distress is past! The good and true were soon forgot Sachs (Sachs comes to Walther and takes him by Did they not live in Master art. (Walther has been conducted to the steps of the the hand) I say to you, honour your noble Masters, platform and kneels before Eva.) 13 Do not disdain our Masters thus, Thus you will shun disasters; But honour well their Art! If you hold them close to your heart; Eva (Eva crowns him with a wreath of laurel and That which they love and prize the most, Then may depart, the fame of ancient Rome; myrtle.) Has made them take your part, We have, at home, our sacred German Art. No one but thou, so clear a right hath shown! ’Twas not your father’s name and worth, Nor yet your title, wealth, or birth; (During the following finale Eva takes the wreath Sachs (turning to the people and pointing to It was your Poet’s Art, that won a Master’s heart. from Walther’s head and places it on Sachs’, who Walther and Eva) Him must you thank, for all your bliss. takes the chain from Pogner’s hand and hangs it 12 The witness has been duly tried; So think with thankfulness on this. round Walther’s neck. Pogner kneels as if in homage Are you with Sachs dissatisfied? Who could an Art like ours, despise, before Sachs.)

146 147

The Opera In English Series Great Operatic Arias

CHAN 3011(2) Donizetti: Don Pasquale CHAN 3116(2) Verdi: A Masked Ball CHAN 3057(3) Mozart: Don Giovanni CHAN 3127 Christine Brewer CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3136(2) Verdi: Nabucco CHAN 3103(2) Mozart: Idomeneo CHAN 3096 Elizabeth Futral CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3068(2) Verdi: Otello CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3035 Yvonne Kenny CHAN 3017(2) Donizetti: Mary Stuart CHAN 3030(2) Verdi: Rigoletto CHAN 3121(2) Mozart: The Magic Flute CHAN 3099 Yvonne Kenny 2 CHAN 3073 Janet Baker sings scenes from Mary CHAN 3023(2) Verdi: La traviata CHAN 3022 Strauss: Der Rosenkavalier (The CHAN 3049 Della Jones Stuart CHAN 3036(2) Verdi: Il trovatore (The Troubadour) Knight of the Rose, highlights) CHAN 3142 Jennifer Larmore CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3067 A Verdi Celebration CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3010 Diana Montague Company) CHAN 3091(2) Bizet: Carmen CHAN 3054(3) Wagner: The Rhinegold CHAN 3093 Diana Montague 2 CHAN 3004 Mascagni: Cavalleria rusricana CHAN 3014(3) Gounod: Faust CHAN 3038(4) Wagner: The Valkyrie CHAN 3112 Barry Banks (Rustic Chivalry) CHAN 3089(2) Gounod: Faust (abridged) CHAN 3045(4) Wagner: Siegfried CHAN 3006 Bruce Ford CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3033(2) Massenet: Werther CHAN 3060(5) Wagner: Twilight of the Gods CHAN 3100 Bruce Ford 2 CHAN 3008(2) Puccini: La bohème CHAN 3134(2) Poulenc: The Carmelites CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3088 Bruce Ford sings Viennese Operetta CHAN 3070(2) Puccini: Madam Butterfly CHAN 3130(3) Berg: Lulu CHAN 3133 Bartók: Bluebeard’s Castle CHAN 3013 Dennis O’Neill CHAN 3000(2) Puccini: Tosca CHAN 3094(2) Berg: Wozzeck CHAN 3101(2) Janácˇek: The Cunning Little Vixen CHAN 3105 Dennis O’Neill 2 CHAN 3066 Jane Eaglen sings Tosca CHAN 3019(3) Handel: Julius Caesar CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3085 Alan Opie CHAN 3086(2) Puccini: Turandot CHAN 3147 Handel: Acis and Galatea CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3077 Andrew Shore CHAN 3025(2) Rossini: The Barber of Seville CHAN 3072 Janet Baker sings scenes from Julius CHAN 3138(2) Janácˇek: The Makropulos Case CHAN 3032 Alastair Miles CHAN 3097(2) Rossini: The Thieving Magpie Caesar CHAN 3145(2) Janácˇek: Katya Kabanova CHAN 3044 John Tomlinson CHAN 3074(2) Verdi: Aida CHAN 3143(2) Humperdinck: Hansel and Gretel CHAN 3007 Mussorgsky: Boris Godunov CHAN 3076 John Tomlinson 2 CHAN 3052(2) Verdi: Ernani (highlights) CHAN 3081(2) Mozart: The Abduction from the CHAN 3118 Sir Thomas Allen CHAN 3079(2) Verdi: Falstaff Seraglio CHAN 3128(2) Smetana: The Bartered Bride CHAN 3155 Sir Thomas Allen 2 CHAN 3152(3) Mozart: Così fan tutte CHAN 3042(2) Tchaikovsky: Eugene Onegin CHAN 3078 Baroque Celebration

150 151 Also AvailableOn session: Richard Farnes and Brian Couzens Also AvailableOn session: Richard Farnes and Brian Couzens CHAN 3 0 54 ( ) CHAN 3 0 8( 4 )

152 153 Also AvailableOn session: Richard Farnes and Brian Couzens Also AvailableOn session: Richard Farnes and Brian Couzens CHAN 3 0 45 ( 4 ) CHAN 3 0 6 0( 5 )

154 155 Also Available as a 16-CD box set Also AvailableOn session: Richard Farnes and Brian Couzens CHAN 3 1 47 CHAN 3 0 65 (1 6 )

156 157 Released by arrangement with BBC Audio & Music

Production photographs © Reg Wilson

Executive producer Ralph Couzens Digital remastering Peter Reynolds and Jonathan Cooper Operas administrator Sue Shortridge Recording venue Sadler’s Wells, Rosebery Avenue Theatre; 10 February 1968 Front cover Photograph of Reginald Goodall © Clive Barda/Arena Pal Design and typesetting Cassidy Rayne Creative Booklet editor Kara Reed Picture researcher Helen Anderson P 2008 BBC © 2008 Chandos Records Ltd

The BBC wordmark and the BBC logo are trade marks of the British Broadcasting Corporation and are used under licence from BBC Worldwide. BBC logo © BBC 1996

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