Thoughtful understated staging made Danish Opera’s Meistersinger a memorable experience

Laurent Pelly’s Die Meistersinger von Nürnberg originated at the Teatro Royal in Madrid and is now being performed by the Royal Danish Opera In Copenhagen. It’s a wonderful experience in every way. The mood is set by the triumphant Overture which segued effortlessly into the hymn in the Church – one of the great transitions in musical theatre. From then on few if any in the audience took their eyes off the stage for five hours, it was that good.

Musically and vocally this is a fine production. Beautifully sung and with a masterful orchestral accompaniment under Axel Kober. A good test is the quintet in Act 3 which was compellingly well sung. The staging was minimalist – a curious use of cardboard boxes and a stage (which revolved) at an angle. The Meistersingers themselves were old and doddery and dressed in a dull, unremarkable way. All designed not to detract from the story or the music I think.

The temptation for modern day opera directors is to try and say something new with the great operatic war horses, like Wagner. Bayreuth is not exempt from that indulgence – their last Meistersinger was set in Wagner’s house (on the stage) with Lizst and the Wagner family appearing! And Danish Director Kasper Holten set the Opera in a London Club in a notorious production at the Royal Opera House! In such productions you sense the director is trying to impress fellow directors rather than the paying audiences! No such problem with Pelly’s work here in Copenhagen.

Pelly wanted us to hear the music without distraction. And to follow the plot. The temptation with Meistersinger , because of its grand scale, is to gild the lily with costumes, scenery and special effects. There was none of that here, and all the better for it. But if understatement in presentation is your plan you better ensure that the essentials are outstanding. For example the chorus which has a key role to play in this opera has to be of the highest quality. It was, the ensemble singing was superb. The principals were experienced Wagnerians. As, I think, they have to be. A lead soprano told me in Vienna last year that she was comfortable with the full operatic range – except Wagner! The Wagner sepecialists were, she told me, a “bigger and a different breed” !

The principals all sang well and there were no attention grabbers – except perhaps Tom Erik Lie as Beckmesser who released the comedy of the character as well as the pathos. A word also for Jacob Skov Andersen’s David. This is often a dull role but Andersen played it almost as Frank Spencer – a bit gormless, but it worked.

It was a first visit for me to the splendid Copenhagen Opera House. A large and comfortable modern venue but without gilt or glamour. The audience were there for high class opera – and that is what we got!