Tenor Botha gives riveting performance

Johan Botha as Walther von Stolzing in Wagner's "DIE MEISTERSINGER VON N�RNBERG." Photo: Beatriz Schiller/Metropolitan Opera

Johan Botha as Walther von Stolzing in Wagner's "DIE MEISTERSINGER VON N�RNBERG." Photo: Beatriz Schiller/Metropolitan Opera

Published Jan 13, 2015

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A rare masterly genius in operatic composition is displayed on its highest level in Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg), a creation at once so expressive and harmonious that, should Richard Wagner had produced nothing else, his fame might well have remained secure.

Few operas in the repertoire are more richly embedded with the spirit of summer than this one. The fact that the story happens on midsummer’s eve and day is the most obvious manifestation. Both the magic and some lurking dangers of a hot June day in a Bavarian late-medieval city, haunt the music and the stage setting.

The opera has a love story in place, but even more than that it is a tale of a specific community with long standing traditions, like the league of Master-singers whose candidates for membership were required to possess advanced knowledge of the methods of rhyming, and to be skilled in the rudiments of music. They were strictly controlled by rules and were examined, the competition was stiff and only the most highly gifted youngsters had a chance to enter their realm as a master-singer.

With this Metropolitan Opera’s Meistersinger staging the end of an era is heralded. It’s a farewell to Otto Schenk as director, Günther Schneider-Siemssen as set designer and Rolf Langenfass’ costumes. In comes Stefan Herheim’s new Salzburg production (which premiered in 2013) for the Met’s 2019-20 season.

James Levine, the Met’s musical director, conducted the premiere of the current production in 1993 and subsequently led all 29 performances from the pit. Musically he is an inspirational binding force in this latest staging, with strings having a healthy sheen about them, brass-playing that is always excitingly full-throated and fearless in attack, with only the winds curiously bland at times. The Prelude sounded a bit routine, but in contrast with that the Prelude to Act III is stirringly intense.

Levine, however, gives the singers great support in the ebb and flow of tempos, the discreet and unerring management of Wagner’s miraculous transformations and the correct shaping of detail. The Met Chorus make an impressive sound in the set-pieces, but, even more importantly, also reflect the idiomatic finesse for the lighter moments.

After all is said, it is in the hands of the singers to do full justice to a Meistersinger – the largest and most complex opera ever written. Any performance of this sublime comedy is bound to have flaws, but with teamwork like this and an ideal relationship between the conversational style of much of the singing as we find here, there is very little to complain about.

Johan Botha (pictured), our very own tenor in the role of Walther, is vocally light-footed for a man his size. What really matters is that his voice has far more nuances than before. His unrelenting forte of a decade ago is gone. That has been replaced by more freshness and life, as well as phrases with a long line and an innate musicality. While his physique might hamper him, he gives his all to win the heart of his beloved Eva.

He also stays the course to deliver a rapturous Prize Song. Botha gives us a musical and eager Walther which never tires throughout this taxing assignment. Michael Volle as Sachs has a firm, expressive tone and a natural feeling for the role’s phraseology. He makes this character come alive on stage.

• In Cinema Nouveaus until January 22.

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