WAGNER: Die Meistersinger von Nurnberg.(Review)

WAGNER: Die Meistersinger von Nurnberg [] Magee, Svenden; Seiffert, Wottrich, Holl, Schmidt, Holle; Bayreuth Festival Orchestra and Chorus, Barenboim. Texts. Teldec 3984-29333-2 (4)

In some Wagner -- particularly the more visionary, ecstatic works, such as Lohengrin and Parsifal -- Daniel Barenboim has few peers among conductors today. His new Meistersinger fails to reach that exalted level. Whether the cause is the live-performance circumstances, flaws in the cast or failings of Barenboim's own, the result seldom touches the heart as this great opera can.

The self-generating musical motion that Barenboim knows how to achieve happens only intermittently here; some episodes sound uncharacterized, others afflicted by unwanted gearshifts. (Perhaps splices between different performances play a role here, as with the shifts in aural perspective.) Aided by the splendid Bayreuth orchestra and chorus, Barenboim makes his best impression toward the beginning and end, with an invigorating prelude and a stirring "Wach' auf!" chorale. In between, both conductor and cast remain earthbound for the most part.

Robert Holl has authority in his sound, making his presence felt in the mastersingers' first scene as few portrayers of Hans Sachs do. In his bigger opportunities thereafter, he offers little but vocal adequacy. Hardly a hint of liveliness in ...