When reviewing Janowski’s Parsifal with the RSB, I have written that clarity above richness of sound seemed to define the conductor’s approach to Wagner, especially if one has his recording of the Ring with the Staatskapelle Dresden in mind. Well, this evening proves that Janowski’s Wagnerian abilities are more varied than I thought. Maybe because Die Meistersinger is notoriously long and massive, the conductor might have hought that a little orchestral glamour could be helpful. And his musicians did not hang fire. The overture alone was worth the expensive ticket price – full orchestral sound without any loss of structural transparence and flexibility. Then the Rundfunkchor Berlin happened to be in top form. The evening had a promising start.
I had never seen this opera in concert version and never realized until this evening how much of a challenge it is to balance a big orchestra on stage and roles meant for lighter voices in many conversational passages, often in the middle register of singers’ voices. Janowski took the decision of not sacrificing his orchestra and allowed singers to be heard over it by a very small margin. In the end of act I, for example, instead of giving the tenor the opportunity to shine in Fanget an! , he would rather give pride of place to the sensuous ebb and flow of string sounds in a way that made me rethink the whole scene. Act II never sounded so organic, with the difficult transitions spontaneously and coherently handled. If I had to make any observation, this would regard the last scene, the “on stage” band could be a little bit subtler and more integrated with the main orchestra. I am tempted to say that the more “intimate” passages could have a bit more Innigkeit and less objectivity and forward-movement, but then I am not sure if we had this kind of cast this evening.
My first and foremost vocal interest this evening was Edith Haller’s Eva. I saw her Gutrune and Sieglinde in Bayreuth last year and found her simply outstanding. My first impression this evening was that her interpretation was too much about minauderie. Her Eva was desperately little-woman-ish, piping and pecking at notes old-Viennese style. One would have never believed she sings roles like Elsa or Sieglinde. Eventually I would start to suspect that she was simply not in good voice – some high notes were a bit sharp and often fixed and unflowing. Of course, she still has a lovely voice and had no problem piercing through the orchestra, but I will really have to hear her Eva again to say something about it. Michelle Breedt was a very charming Magdalene, supple and warm-toned. Robert Dean Smith has the right voice and personality for the role of Stolzing. He sings with exemplary legato, real feeling for the words and good taste. His high g’s and a’s could be a bit ampler and brighter, but were round and easy nonetheless. I have seen more flexible and varied Davids than Peter Sonn, but I confess I like his straight-to-the matter ways with the role. Thank God he is no tenorino, while the voice is warmer than the usual Spieltenor’s as well. Dietrich Henschel’s unfocused and often rough Beckmesser made one wonder why one would consider that Meistersinger-level. Albert Dohmen’s bass-baritone sounds too heavy and sometimes effortful in his high notes as Hans Sachs. The tone is not really noble, but the voice is large and he is able to keep clear articulation for more declamatory passages and even soften for one or two key moments. But the results were too often Wotan-like in a role where congeniality is important. Georg Zeppenfeld was an efficient Pogner, but Matti Salminen’s cameo as the Nachtwächter showed up his younger colleagues’ less classically Wagnerian voices.