Jim Pritchard – Seen and Heard International

Die Meistersinger von Nürnberg

“Saffron Opera Group’s Meistersinger for its 10th anniversary was a triumph over adversity”

In the Saffron Opera Group’s informative 10th Anniversary Souvenir Programme you could read how ‘During rehearsals for Das Rheingold in 2016, a singer became indisposed and at very short notice we had to find a replacement. Although we were able to do that, it was inevitably rather stressful, and we made a decision then that we would also cast understudies going forward, and that’s how it’s been ever since.’ Never has that proved more valuable than in this concert performance (with a hint of staging) 10 years and a day after Saffron Opera Group (SOG) was ‘born’. That was also with Richard Wagner’s Die Meistersinger von Nürnberg which is almost never heard in the UK these days and is almost as rare elsewhere in the world.

Having a short while ago lost the previously announced Julian Close to the New York Met, Andrew Greenan was now singing the role. Fast forward to the weekend of this performance and Paul Carey Jones – who many in Saffron Hall I suspect were looking forward to seeing and hearing – succumbed to illness. This sorely tested the SOG’s idea to have understudies, which obviously depends on how prepared they are.

Promising British bass William Stevens upgraded from the role of one of the masters, Hans Schwarz (now sung by Paul Sheehan), to valiantly step in and give Hans Sachs a go during the first two acts, with the Hans Sachs of 2013, Andrew Greenan, relinquishing Pogner to Simon Grange (who had been Nightwatchman in Act II) and singing it again to finish the opera in 2024. If this seems a bit confusing, well, I guess it was, but it is a credit to conductor Michael Thorne and Elaine McKrill (responsible for casting and concert staging) that ultimately SOG triumphed over this adversity.

I will repeat here something I wrote after being there in 2013 when SOG ambitiously began big with Wagner’s 4¾-hour ‘romantic comedy’, and what marvels there have been since: ‘I fought long and hard against people’s prejudices when in charge of The Wagner Society that performances like this – or on a smaller scale – are never the “real thing” and this always keeps many away who might wish in hindsight they had been there. Yes, if you were ultra-critical I could “nitpick” more concerning tempo, balance, or the suitability of certain soloists for their roles etc. – if anyone wants any advice I am easy to find – but I was so impressed by the achievement of all concerned that I will resist my usual inclination to be hypercritical, especially where Wagner is concerned!’

If anything, SOG’s ‘ambition’ might be outgrowing the modestly-sized Saffron Hall as I suspect – even if you were in the farthermost seats – the sound from an orchestra of about 90 and a chorus or almost 50 at full volume could be overwhelming at times. Despite this the vehement tutti sounds at the end of each of the three acts will live long in my memory. As I wrote again in 2013: ‘Michael Thorne proved himself totally “at one” with the expansive spirit, spaciousness, geniality and dramatic architecture of the work and although he hurried things along, he gave the music some much-needed time to bloom when necessary.’ As I mentioned before, to ‘nitpick’ would be very easy but would do a disservice to the commitment of the stentorian chorus and accomplished orchestra. Of course, everything could only have benefited from more rehearsal and despite very occasional issues of tempo and balance, as well as ensemble and solo blemishes, there was nowhere else I would rather have been than in Saffron Hall for my annual September visit. (With revered Wagner interpreters Lionel Friend and Anthony Negus in the audience, I wonder whether Thorne has considered occasionally handing over the baton to one of them while they are still with us?)

I suspect Elaine McKrill’s minimalist staging ideas were undermined by the casting shenanigans. There was an Act I tablature on the conductor’s podium (if you know your Meistersinger you’ll know what that is) and a Marker’s booth with slate and chalk for Beckmesser. In Act II apart from aprons there was a small shoe last/anvil and small hammer for Hans Sachs; and Beckmesser entertainingly mimicked his lute playing. For the concluding riot the masters wandered in wearing dressing gowns and Beckmesser was very realistically rough-up by David ending bandaged up for the final act. For the opera’s Festwiese scene the chorus wore what they would don on a summer’s day and the masters were in their best bib and tucker with a plain coloured sash as their regalia, with David, Magdalene, Walther and Eva also dressed up for the occasion. All this helped to detract greatly from the row of music stands and chairs in front of the orchestra.

Charne Rochford realistically portrayed young love and sang with almost baritenor tones as a forthright and indefatigable Walther finding some more colours and nuance – when it most mattered – for the pivotal last scene’s ‘Prize Song’. Eleanor Dennis had all the radiance necessary for Eva, looking and – more importantly – singing like Lise Davidsen when I first heard her. Dennis had all the volume necessary to cut through the orchestra’s wall-of-sound and ‘O Sachs! Mein Freund’ and the opening to the Quintet was as ravishing as it must be. Alex Aldren was a hyperactive – almost ever-present – David and did okay since I suspect he is unlikely to sing the role again any time soon, though his singing of the role appeared secondary to his acting. Georgia Mae Bishop was a rich-voiced, characterful Magdalene; a truly world-class assumption and making more of the role than it probably warranted. Even with less to do initially than Magdalene, Simon Grange’s voice resounded gravely from the balcony as the Nightwatchman before he become Pogner in the third act.

The best overall performance was from William Dazeley as a pathetically vainglorious Beckmesser, and he made him both pitiful and very – very -funny in his absolute self-belief. Dazeley has a fine baritone voice and was certainly a match for many more famous Beckmessers I have watched in the past. The masters collectively sang very well and all appeared to have their own bits of business to keep them engaged with what was going on even when just sitting on their chairs.

William Stevens and Andrew Greenan are critic-proof given all the last-minute changes. Stevens’s focus was on his score for his two acts and after a nervous start his Act II ‘Was duftet doch der Flieder’ gave evidence that he might be a name to look out for in the future. Greenan’s bass was ideal for the sternly protective Pogner and he just about had enough in reserve for Sachs’s resplendent paean to German Art ‘Verachtet mir die Meister nicht’. Stevens and Greenan deserve the highest praise for rescuing SOG’s 10th anniversary from potential disaster.