Melbourne Opera has done it again. Undaunted by the challenges of groundbreaking innovation – in this case, the first fully staged opera at the Royal Exhibition Building – the grandeur of Melbourne’s only UNESCO World Heritage-listed site has become the setting for the grandeur of Wagner’s Die Meistersinger von Nürnberg. Created within a decade of each other, 1878 and 1868 respectively, the pairing involves a nice piece of synchronicity.
But it is not all soul stirring pomp and ceremony suggested by the triumphal opening of the orchestral Prelude, later repeated when the guildsmen enter for the singing contest; what Wagner initially called his comic opera also embraces the humanity in general. It has been called a “democratic” opera.
Director Suzanne Chaundy and Set Designer Andrew Bailey have fashioned a performance space that not only harmonises with the building in terms of colour palette but also allows the surrounding spaces to become almost part of the action. From the steeply raked seating at one end of the hall, performers, catering staff and even the Nicholson Street traffic could be seen. Because much of the performance occurred in daylight hours and there is no way of darkening the space, there was a strong sense of life progressing as normal. When the most respected mastersinger, Hans Sachs, made the scandalous suggestion that the people should have a say in who should win the singing contest, the nature of “the people” took on a more tangible meaning. Even latecomers delayed by the pro-Palestine demonstration nearby had to make a highly visible entrance – all part of the business of life. Peter Lethlean’s lighting design, with its effective spotlighting, ensured a focus was on the performers despite the occasional distraction.
The main distraction, however, were the very necessary “surtitles”. Wagner is nothing if not wordy, but the selection of translations from the German was fairly comprehensive enough and blissfully readable. It was often a wrench to take one’s eyes away from the action on stage to the side screens as Chaundy’s imaginative direction is packed with interesting and often very amusing detail. Would all members of the audience have noticed the malicious pedant Beckmesser standing isolated on the upper level frame overlooking the midsummer festivities at the end of the opera?
Based on a real historical figure, the cobbler and celebrated mastersinger Hans Sachs is reputed to represent Wagner himself. The knight, Walther von Stolzing, who seeks to win the hand of Eva Pognor and her father’s wealth, is also seen as an aspect of Wagner, an example of the value of innovation and inspiration as opposed to slavish following of a stale set of rules. Sachs is one of the great Wagnerian roles and it takes a singer of significant maturity and vocal power to do it justice. Since his huge triumph as Albrecht in Opera Australia’s Ring Cycle in 2013, Warwick Fyfe has gone from strength to strength in major roles, including Wotan in Melbourne Opera’s recent Ring Cycle. The role of Hans Sachs seemed like a natural progression, and one that he has now performed with significant distinction. His voice was splendid in its power and beauty, conveying the sense of gravitas necessary for the role. Modern audiences might be shocked at the way Sachs beats his apprentice David, but the energy Fyfe put into the noisy shoe hammering as he tries to thwart Beckmesser’s designs on Eva were satisfyingly vicious. Sachs is a flawed character, but a formidable one. He is a poet and philosopher, who believes that art is the way to counterbalance humankind’s drive to delusions, greed and violence.
Both Sachs’ somewhat ambiguous love for Eva and Eva’s deep affection for him were portrayed with touching tenderness by Fyfe and Lee Abrahmsen. Abrahmsen has a personality that radiates warmth and her voice has a phenomenal resonance that filled the space, always free and flowing, without a glimmer of stridency, and matching the heightened emotional and vocal power of Fyfe’s. It was opera on a grand scale.
As Beckmesser, baritone Christopher Hillier was another artist with outstanding vocal resources, his burnished superbly focussed tone cutting through even the most hectic ensembles with full chorus. Of all the superb performances, his perhaps held the most surprises, even for those of us who have long admired his work. Beckmesser has been interpreted in diverse ways, but Chaundy’s emphasis was on comedy in this production. With his eccentric appearance, mannerisms and generally combative demeanour, Hillier’s control and energetic immersion in the role enlivened every scene in which he featured.
The role of David, Sachs’ put-upon apprentice, is probably more obviously a comic one, and Robert Macfarlane is an old hand at mining (and then some) humorous possibilities. Expressive, mobile and with a most pleasant tenor voice, he gave a confident performance. It is an important role as it establishes the general mood of the opera; Act 1 could become a little flat without a David possessing vitality, comic flair and a fine voice. Macfarlane’s enumeration of the qualities needed for acceptance as a Meistersinger was deftly handled.
As the object of David’s affections, Eva’s maid/companion Magdalena, mezzo-soprano Deborah Humble was youthful, animated and in fine voice. She was a bright presence adding a joyful note to much of the story. Her contribution to the famous Act 3 quintet was admirable, her voice providing extra feminine richness and warmth to those of Fyfe, Macfarlane, Abrahmsen and James Egglestone.
Although Egglestone’s tenor voice does not have quite the robust Heldentenor quality usually found in those singing the role of Walther, the more lyrical quality of his tenor voice had considerable appeal, and the distinctive timbre of his voice could also be heard clearly in ensembles such as the quintet, despite the formidable competition. Less compressed sounding than many Wagner tenors, the repeated top notes of his competition song were more easily delivered. Egglestone also had the advantage of looking the part – exactly the kind of man Eva would instantly find attractive.
Steven Gallop was ideally cast as the goldsmith Veit Pognar, who in a fit of generosity and pride in the musical achievements of his fellow burghers offers his wealth and daughter as a prize – if she agrees with the choice. His physical appearance and the rich sonority of his bass voice gave his characterisation suitable solemnity and an aura of big-heartedness.
In minor roles two singers deserve special mention: baritone Michael Lampard gave an exceptionally well-projected performance, vocally and dramatically, as Kothner the baker; and Henry Shaw’s Nightwatchman impressed with its commanding bass resonance.
Apprentices, burghers townspeople – the chorus as a whole was terrific. Chorus Master Raymond Lawrence wrought miracles in the complicated mayhem of the fight scene that ends Act 2. It was a triumph of coordination where nobody seemed to miss a beat. From the opening hymn to the final celebration no more could have been asked. Fresh-sounding voices boasting a ringing tenor line were absolutely thrilling in musical climaxes. After performing nearly all of Wagner’s operas (only Parsifal to go) the chorus has become a disciplined, coherent entity capable of a remarkably high standard.
Under the expert baton of Maestro Anthony Negus, the Melbourne Opera Orchestra played wagner’s magnificent score with spirit and sensitivity, the sound unexpectedly clear rather than the muddied boom possibly anticipated in such a resonant acoustic. Negus’ profound understanding of Wagner’s music inspired some exceptional playing, the brass section being particularly impressive – even when calling the audience to their seats.
A major contribution to the visual interest of the performance, Karine Laché‘s thoughtful costume designs successfully evoked the period and reflected the occupations of the wearers.
In an opera revolving around a song contest, a special prize should certainly go to Melbourne Opera for the high quality of this production. Audience members too will feel that they have bought a winning ticket at the end of a long, entertaining evening of exceptional music-making. Those four and half hours seemed to pass very quickly.
The well-publicised chaos afflicting Opera Australia at the moment has led many to insist that it is high time Melbourne Opera was given the government funding that it so richly deserves.
Photo credit: Robin Halls
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Heather Leviston reviewed Melbourne Opera’s production of Wagner’s “Die Meistersinger von Nürnberg” presented at the Royal Exhibition Building on February 16, 2025.
