Wagner’s “Die Meistersinger von Nurnberg” in Paris


Opéra Bastille from 01 to 28 March 2016

Opening night Tuesday, 1 March 2016

5h45 with 2 intervals

Die Meistersinger von Nürnberg

Opera in three acts and seven scenes (1868)

Music Richard Wagner
Libretto Richard Wagner (1813-1883).  In German


Copyright Photo by Elena Bauer/ONP

© Elena Bauer / OnP

Conductor  Philippe Jordan
Director Stefan Herheim
Hans Sachs Gerald Finley
Veit Pogner Günther Groissböck
Kunz Vogelgesang Dietmar Kerschbaum
Konrad Nachtigall Ralf Lukas
Sixtus Beckmesser Bo Skovhus
Fritz Kothner Michael Kraus
Balthasar Zorn Martin Homrich
Ulrich Eisslinger Stefan Heibach
Augustin Moser Robert Wörle
Hermann Ortel Miljenko Turk
Hans Schwarz Panajotis Iconomou
Hans Foltz Roman Astakhov
Walter Von Stolzing Brandon Jovanovich
David Toby Spence
Eva Julia Kleiter
Magdalene Wiebke Lehmkuhl
Ein Nachtwächter Andreas Bauer

Set design Heike Scheele
Costume design Gesine Völlm
Lighting design Olaf Freese
Video Martin Kern
Dramaturgy Alexander Meier-Dörzenbach
Chorus master José Luis Basso

Paris Opera Orchestra and Chorus
Coproduction with the Salzburg Festival, La Scala, Milan and The Metropolitan Opera, New York

French and English surtitles

© Elena Bauer / OnP

© Elena Bauer / OnP


Nuremberg, Summer 1835: in a tavern, a heated debate between Richard Wagner and a carpenter-singer degenerates into a brawl. To all intents and purposes, the stage for “Die Meistersinger” is set. Marienbad, Summer 1845: drawing on the History of the Poetic Literature of the German-speaking Peoples as well as the biography of poet and shoemaker Hans Sachs (1494-1576), the composer sketches out the canvas for a satirical counterpart to Tannhäuser. Venice, Autumn 1861: visiting the Accademia with the Wesendoncks, Wagner is spellbound by Titian’s Assumption and decides to begin writing “Die Meistersinger” – an opera he would not complete until six years later. With a sense of self-derision with which he is not usually associated, Wagner brings together an exercise in style and an aesthetic manifesto in praise of the “noble and holy German art!”.

Going beyond a nationalism which Thomas Mann would later qualify as “spiritualized”, Wagner’s only comedy of his later years combines a desire for change with the ever-essential persistence of the very traditions upon which it is built and sketches a dual self-portrait of the artist, both wise and audacious, in the characters of Sachs and Walther von Stoltzing. Following an outstanding Parsifal at the Bayreuth Festival in 2012, Philippe Jordan joins director Stefan Herheim for the first production of Die Meistersinger von Nürnberg at the Paris Opera for more than a quarter of a century.


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