| Wagner - Die Meistersinger von Nurnberg / Bernd Weikl, Siegfried Jerusalem, MariAnne Haggander, Hermann Prey, Graham Clark, Matthias Holle, Horst Stein, Bayreuth Opera | 
| Actors: Richard Wagner, Marga Schiml, Manfred Schenk, Wolfgang Wagner, Stein
Studio: Deutsche Grammophon
Category: DVD
List Price: $39.98
Buy New: $22.99
You Save: $16.99 (42%)
Buy New/Used from $22.99
Avg. Customer Rating:   (7 reviews)
Sales Rank: 31916
Format: Ac-3, Classical, Color, Dolby, Dts Surround Sound, Dvd-video, Subtitled, Ntsc
Languages: German (Original Language), English (Subtitled), French (Subtitled), Spanish (Subtitled)
Rating: NR (Not Rated)
Media: DVD
Running Time: 267 minutes
Number Of Items: 2
Discs: 2
Aspect Ratio: 1.33:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: 000678009
UPC: 044007341605
EAN: 0044007341605
ASIN: B000EQHHJM
Release Date: June 13, 2006
Theatrical Release Date: 1984
Availability: Usually ships in 1-2 business days
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| Customer Reviews: Read 2 more reviews...
 Berndt Weikl is a bore September 2, 2007
5 out of 13 found this review helpful
Berndt Weikl is a bore. Siegfried Jerusalem is weak and a poor actor. MariAnne Haggander is pretty and Hermann Prey has celebrity value, but they don't redeem this tedious performance.
Go for James Morris and Ben Heppner at the Met. Or, if you really want to hear MEISTERSINGER as it should be, listen to the Bayreuth 1960 live performance, conducted by Knappertsbusch, with Wolfgang Windgassen and Josef Greindl.
 Well-staged production, interesting protrayals. February 26, 2007
8 out of 10 found this review helpful
I am lucky that I did not watch this DVD after the MET version.
Many say that Jerusalem is less good as Heppner. If you believe in the logic that a more massive figure produces better sound in terms of singing, that explains the difference between Heppner's Walther and Jerusalem's. However, there is a trade-off here - a massive Stolzing is less convincing visually than a tall and elegant figure.
Jersualem did not have the Prize Song done to 100%, that is true. However, it is very near to 100. So the trade-off between the two knights tilts in favour of the Bayreuth version.
The other trade-off is Haggander's committed but less vocally sound Eva with Mattila's uncommitted but vocally marginally stronger Eva. The two should score a tie here, especially taking into account the Act immediately preceding the Quintet, where Haggander is a more convincing Eva both vocally and visually.
Bernd Wiekl and Hermann Prey are the two stars of this performance. Both are very human, and vocally very adequate, with Prey slightly better than Wiekl, but the two pair up exceedingly well with balanced performance that set off spark after spark in their several encounters.
Then the visual aspect - the costumes and stage-setting are superb. The religious sense in the libretto is brought out exceedingly well in this production.
It is simply beautiful.
 Another strong but not quite satisfactory performance January 27, 2007
7 out of 10 found this review helpful
I am going to restrict my comments to a comparison of this performance with the MET version with Morris, Heppner, etc. because that's a logical and readily available alternative. I reviewed the MET dvd and also gave it 4 stars (liked the sets and staging except Act 1; Morris somewhat below par; Heppner and Mattila strong but did not "look" their parts). The Bayreuth production in many respects (frustratingly so) complements the MET performance -- strengths of one are shortcomings of the other. As for sound, the MET orchestra beats the Bayreuth players, Heppner tops Jerusalem, and Mattila tops Haggander. But Weikl tops Morris. The Beckmessers on both recordings are top notch--certainly the best combinations of voice and acting in their respective recordings.
As for staging, the MET's sets and crowd movements are superior in Acts 2 and 3. The MET has a nice construction of a Nuremberg street for Act 2 (Bayreuth has a more enclosed set); also the MET's Act 3 final scene is handled better (the Bayreuth final scene is positively claustrophobic -- it's as if the director were trying to stuff a telephone booth with college freshmen). On the other hand, the set for Act 1 at the MET is a disaster (an aisle outside the church nave) whereas Act 1 at Bayreuth takes place in the church nave so the whole congregation is visible during the great chorus after the overture. The Bayreuth performance has a touching closing in which the director Wolfgang Wagner joins the hands of Sachs and Beckmesser in reconciliation. But the MET has richer costumes and warmer lighting.
For a dvd performance I'm of the opinion that, when tradeoffs are necessary, the visual impact gets the nod over vocals (within reason of course). On that basis, I give the Master's wreath to the MET production (but I would substitute Act 1 from Bayreuth).
Best Meistersinger Available! December 26, 2006
11 out of 13 found this review helpful
This is the best recorded performance of Wagner's Die Meistersinger.
Here's why:
Who is more likely to know Richard Wagner's conception for the opera, than his grandson, Wolfgang Wagner, who is the artistic director of this performance?
Next, imagine assembling some of the very best Wagnerian singers of the past quarter-century: Bernd Weikl as Sachs, Hermann Prey as Beckmesser, and Siegfried Jerusalem as Walter. They all sing and act inspiringly!
The staging, scenery, and costumes are perfect: it's like you're transported back to the Germany of centuries ago.
Richard Wagner was commenting on the rigidity and closedmindedness of the music critics of his day, and the character embodying those critics was Beckmesser, whose role is thus pivotal. Fortunately, this production's Beckmesser (Hermann Prey) is pedantic, sycophantic, officious and tedious--in a word: he's perfect!
The opera makes the point that minds must be kept open to new ideas, while still retaining an understanding of what makes "classical" classic.
The Johannestag festival music is some of the brightest and happiest, so much so that those who think Wagner is always heavy and ponderous, will scarcely believe their ears.
Finally, as icing on the cake, when the song contest is over, and the winner crowned, centerstage in the background, you will see Wolfgang Wagner himself, sort of "patching things up" between Beckmesser and Sachs--it's a wonderful touch by the artistic director, and I can't help but think that Richard Wagner would approve of his grandson's gesture.
A great example of what a good production is! November 28, 2006
12 out of 15 found this review helpful
Wagner is not funny... Not even here, in his only comedy. Well, maybe a little funny... I mean Hans Sachs (Bernd Weikl) teaches Sir Walther Von Stolzing (Siegfried Jerusalem) to be a Mastersinger in one day and Sixtus Beckmesser (Hermann Prey) tries to sing a love song to Eva (Mari Anne Haggander) while Hans Sachs is hammering away on a shoe in loud disruptive rhythms. Well... It's funny for Wagner! The acting and set design are exquisite! A very real and human staging by Wolfgang Wagner (yes... related). The Bayreuther Festspiele is wonderful and artfully sculpted and detailed by Horst Stein without loosing the warm humanity of the music. I was going to purchase the James Levine MET production with James Morris as Sachs, but I kept seeing this one and decided to give it a try. I was very happy with my decision. I enjoyed every second of it... which is impressive concidering there are 16,020 of them! You may even laugh out loud... I think I did once or twice. A great choice that will yield years of enjoyment!
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