Courtroom Drama: The Nuremberg Trial setting of Barrie Kosky’s ‘Meistersinger’ is inspired, Barry Emslie finds, but undermined by infantile horseplay

Review of Die Meistersinger von Nürnberg, directed Kosky, conducted Jordan, Bayreuth, 2017 (Deutsche Grammophon, 2 DVDs).

March 2019, Volume 13, Number 1, 77–9.

These discs of Barrie Kosky’s production of Die Meistersinger at Bayreuth, from 2017, the year of its premiere, are marked by first-rate video direction, one that combines a respect for the myriad of details in play while never sacrificing the whole. They also set high musical and performance standards. The conductor Philippe Jordan’s interpretation is both passionate and lyrical, while the text is often delivered in an exceptionally pointed (some would say exaggerated) manner. Kränzle (Beckmesser) is brilliant, while Volle as Sachs dominates. He is clearly devoted to Kosky’s interpretation. Vogt (Stolzing) gets it in the neck for not being a true Heldentenor, but I find him sensitive and expressive. The problem is Schwanewilms. The voice still has its silvery sheen, but is now shrill at the top and worn in lower registers. In her case alone diction is often indistinct. But despite all this, the chief consideration, which will either entice or repel prospective buyers, is the Volk-based production.