In a splendid realisation of an inspiringly ambitious vision, Melbourne Opera successfully brings opera to world heritage site, the Royal Exhibition Building. The combined result of dozens upon dozens of artists and creatives, Die Meistersinger von Nürnberg delights with its sheer quality and glorious music.
Serving as both a reflection and a celebration of the elevating power and beauty of music, Die Meistersinger von Nürnberg gently mocks the restrictive rigours of bureaucracy whilst championing the value of the arts in upholding tradition and scaffolding community.
Known as Wagner’s only comedy, Die Meistersinger von Nürnberg is filled with quirky characters and sweetly romantic stakes. Walther von Stolzing arrives in Nürnberg and falls in love with Eva, whose father has offered her hand in marriage as prize for a song contest. Wishing to become a Mastersinger and win Eva’s hand, Walther is supported by noble cobbler Hans Sachs and opposed by cantankerous fellow suitor Sixtus Beckmesser.
Die Meistersinger von Nürnberg was last seen locally in 2018 in a spectacular co-production that dazzled the audience but seriously muddied the storyline with its modern, high concept setting.
With judicious focus, director Suzanne Chaundy crafts the comedy with the lightest of touch, simply allowing the inherent humour of the characters and action to speak for itself. Storytelling is crisp, clear, and engaging. As with the best comedy, the action is played as though it is of high importance to the serious characters.
Inspiring total musical confidence from the very first notes, maestro Anthony Negus reliably draws the finest possible playing from the near 60-strong Melbourne Opera Orchestra. There are inherent risks to performing live music in an untested venue; happily, the orchestral music rings out with vibrant clarity, blending sweetly with the stirring vocals.
The soaring arches and central dome of Royal Exhibition Building prove a stunning backdrop for opera, and designer Andrew Bailey has deliberately complemented the existing colour palette with his scenic design. Even with large settings on the stage, the grand space still provides a view of singers coming and going from the performance area, much like the effect of an outdoor Shakespeare production.
With the logistics of installing blackout blinds completely unmanageable, lighting designer Philip Lethlean instead embraces the natural light, which gradually alters from the 3pm start to the eventual conclusion more than six hours later (including two generous intervals). Twilight seems to arrive on cue for the climactic grand final scene of the St John’s Day festival and song contest. Subtle spotlights are used throughout to highlight principal singers.
With the performance space set up for tiered seating of 1200 patrons, interval breaks at the light, airy venue have the casual warm atmosphere of an outdoor festival, with local opera cognoscenti happily enjoying the shared experience. In a classy touch, a bright brass fanfare heralds the time for the audience to take their seats before each act.
Bailey’s initial framework sets portraying St Katharine’s Church are supplemented over the first interval, adding the charming facades of a bustling village. Act three begins with the facades removed and Sachs’ workshop taking centre stage. During the interlude, the workshop is struck and the company processes the length of the Building, twirling ribbons and proudly carrying banners to the full-stage outdoor festival. The design overall is simply in line with Wagner’s original time and place of mid-1500s Nuremberg, a local centre of the Renaissance.
Costumes, by Karine Larché, complement the same gently muted palette of the sets, often adding cheeky flourishes of humour to proceedings. Festival costumes are suitably grand, finished appealingly with colourful floral headwear.
Having presented much of Wagner’s repertoire, including their unforgettable Bendigo Ring Cycle, Melbourne Opera now boasts a core of richly experienced singers of Wagner. Not only is it impressive to see all roles in Die Meistersinger von Nürnberg taken by Australian singers, but to have a set of principal and featured singers so evenly matched in quality is a real thrill. Act one, in particular, spotlights numerous soloists, each as strong, exact, and characterful as the last.
Act two draws the focus in more tightly, with revered Wagnerian expert Warwick Fyfe sharing a direct bond with audience as Hans Sachs reflects on Walther’s initial attempt at song in the Flieder monologue, “Was duftet doch der Flieder.” Fyfe’s meticulously calibrated, neatly understated performance of the epic role of Sachs continues across acts two and three, his rich vocal expression deftly balancing Sachs’ curmudgeonly temperament with an underlying heart of gold. By the time the ensemble sings a tribute to the noble cobbler Sachs, the same sentiment could very well be applied to the galvanising and stirring work of Fyfe himself.
Amusingly delivering the broadest of the characterisations, Christopher Hillier nonetheless grounds buffoonish Master Sixtus Beckmesser with serious, self-important intent. Despite Sachs’ harsh marking of Beckmesser’s love song, Hillier sings with wonderfully rich warmth. Much as their characters are bitterly bickering, to hear baritones Fyfe and Hillier together is a joy.
While the idea of men competing to win a woman’s hand is hopelessly outdated, Lee Abrahmsen is certainly presented by designer Larché as an appealing “prize,” all golden curls and pale pink gown. In lustrously golden voice as ever, Abrahmsen demurely leaves the audience wanting more in this decidedly male-centric opera.
Abrahmsen is winningly partnered by sterling leading man James Egglestone, singing Walther with heroic passion and ardently romantic tone. Egglestone delights the audience with Walther’s “Morning Dream Song,” saving plenty of sumptuous vocal tone for the climactic contest performance.
Abrahmsen also works beautifully with richly experienced mezzo-soprano Deborah Humble, who elevates the supporting role of Eva’s nurse / companion Magdalena with her pristine vocals and sweetly coquettish stage presence.
Tenor Robert Macfarlane gently adds to the air of comedy as Sachs’ apprentice, David. Given less melodious music that of the hero Walther, Macfarlane nonetheless sings with crisp expression and appealing tone.
Invaluable featured singer Steven Gallop sings the role of Eva’s imperious father Pogner with his all too rare blend of pristine technique and rich character.
The production is blessed with a highly experienced set of singers playing the Masters, each of whom imbues their role with distinctive personality and presence. The Apprentices are sung by a younger cohort, matching strong vocals with lively stage presence. In a very suitable modern touch, the set of ten male apprentices includes both male and female singers.
The Melbourne Opera Chorus sings out with rich harmonies and glorious power, beginning the opera from afar at vespers and later palpably raising the performance energy in the final scene of the opera. Expert preparation by chorus master Raymond Lawrence is clearly evident throughout the opera. Movement director Lisa Petty enlivens proceedings with merry dance.
With our national company seemingly incapable giving Melbourne opera audiences anything like this sort of high quality experience, local opera lovers are strongly urged to embrace this unique and memorable season of Die Meistersinger von Nürnberg.
Die Meistersinger von Nürnberg plays select dates at Royal Exhibition Building, Melbourne until 22 February 2025. For tickets, click here. To view food and drink options, click here.
Photos: Robin Halls