Since its premiere in 1868, Wagner’s Die Meistersinger von Nürnberg has defied repeated upheavals in the cultural-political landscape of German statehood to retain its unofficial status as the German national opera. The work’s significance as a touchstone of national culture survived even such troubling episodes as its public endorsement in 1933 as ‘the most German of all German operas’ by Joseph Goebbels or the rendition in previous years by audiences at Bayreuth of both national and Nazi-party anthems at the work’s culmination. This chequered reception history and apparent propensity for reinterpretation or reclamation has long fuelled debates over the socio-political meanings of Wagner’s musical narrative. On the question of Beckmesser, for instance, heated arguments have surrounded the existence of antisemitic stereotypes in the work as well as their possible indication of a racial-political dimension to Sachs’s restoration of Nuremberg society. Through a combination of musical-textual analysis with critical theory, this book interrogates the ideological underpinnings of Die Meistersinger’s narrative. In four interconnected studies of the characters of Walther, Sachs, Beckmesser, and Eva, the book traces a critical potential within the opera’s construction of provincial and national identities and problematizes existing discourse around its depiction of race and gender.

Medievalism, or the reception or interpretation of the Middle Ages, was a prominent aesthetic for German opera composers in the first half of the nineteenth century. A healthy competition to establish a Germanic operatic repertory arose at this time, and fascination with medieval times served a critical role in shaping the desire for a unified national and cultural identity. Using operas by Weber, Schubert, Marshner, Wagner, and Schumann as case studies, Richardson investigates what historical information was available to German composers in their recreations of medieval music, and whether or not such information had any demonstrable effect on their compositions. The significant role that nationalism played in the choice of medieval subject matter for opera is also examined, along with how audiences and critics responded to the medieval milieu of these works. In this book, readers will gain a clear understanding of the rise of German opera in the early nineteenth century and the cultural and historical context in which this occurred. This book will also provide insight on the reception of medieval history and medieval music in nineteenth-century Germany, and will demonstrate how medievalism and nationalism were mutually reinforcing phenomena at this time and place in history.

Richard Wagner's Die Meistersinger von Nurnberg has been one of the most performed operas ever since its premiere in 1868. It was adopted as Germany's national opera ["Nationaloper"], not least because of its historical coincidence with the unification of Germany under Bismarck in 1871. The first section of this volume, "Performing Meistersinger," contains three commissioned articles from internationally respected artists - a conductor [Peter Schneider], a stage director [Harry Kupfer] and a singer [Dietrich Fischer-Dieskau], all experienced in the performance of this unusually demanding 5-hour work. The second section, "Meistersinger and History," examines both the representation of German history in the opera and the way the opera has functioned in history through political appropriation and staging practice. The third section, "Representations," is the most eclectic, exploring in the first place the problematic question of genre from the perspective of a theatrical historian. The chronic issue of Wagner's chief opponent, Eduard Hanslick, and his musical and dramatic representation in the opera as Beckmesser, is then addressed, as are gender issues, and Wagner's own utterances concerning the opera. Contributors: Nicholas Vazsonyi, Peter Schneider, Harry Kupfer, Dietrich Fischer-Dieskau, Hans Rudolf Vaget, Lutz Koepnick, David B. Dennis, Klaus Van Den Berg, Thomas S. Grey, Lydia Goehr, Eva Rieger, Peter Höyng. Nicholas Vazsonyi is Associate Professor of German and Comparative Literature, University of South Carolina.

The English National Opera Guides were originally conceived in partnership with the English National Opera and edited by Nicholas John, the ENO's dramaturg, who died tragically in an accident in the Alps. Most of the guides are devoted to a single opera, which is described in detail--with many articles that cover its history and information about the composer and his times. The complete libretto is included in both the original language and in a modern singing translation--except where the opera was written in English. Each has a thematic guide to the most important musical themes in musical notation and each guide is lavishly illustrated. They also contain a bibliography and a discography which is updated at each reprint. The ENO guides are widely regarded as the best series of their kind and excellent value. Die Meistersinger was enthusiastically received at its premiere in 1868, and was judged to be Wagner's most immediately appealing work. Eduard Hanslick wrote after the premiere: "Dazzling scenes of colour and splendour, ensembles full of life and character unfold before the spectator's eyes, hardly allowing him the leisure to weigh how much and how little of these effects is of musical origin."

Die Meistersinger von Nürnberg is the only comedy among Richard Wagner’s mature works. Unusually for Wagner, it is set in a historically specific time and place, sixteenthcentury Nuremberg, and tells of a song contest among the town’s guildsmen. It nevertheless explores the same themes of renewal, renunciation and human love as Wagner’s other great music dramas. The finely drawn humanity of its principal characters and the brilliance of its musical invention make it one of the most rewarding operas in the repertory. The guide contains articles on the complex historical and political background to the opera, a detailed examination of its musical structure and a survey of its sometimes contentious performance history. Further articles explore some of the work’s roots in the poetry of Schiller and the vexed question of the extent to which Wagner’s virulent anti-Semitism may be said to be present in the opera. The guide also includes the full libretto with English translation, sixteen pages of illustrations, a musical thematic guide, a discography, a bibliography and DVD and website guides.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1897 edition. Excerpt: ... alle jar auf sanct thomas tag oder die nechst schuel darfor sol man die Festlider verhoren und die fest singer verornern (verordnen) wie solen singen." This was evidently to prepare for a festival on St. John Evangelist's Day (December 27). According to Schnorr von Carolsf eld 4) there was a festal gathering of the Mastersingers at Wohrd, a suburb of Nuremberg, on the Feast of Trinity. Now Wagner has either mistaken the festival of St. John Evangelist for that of St. John Baptist (June 24) or has arbitrarily changed the festival of Trinity to that of St. John. His reasons for choosing this spring-day, so beautifully celebrated in southern Germany, are obvious. 1) Wagenseil, 546. 2) Uhland: Schriften," II, 297.; 3) Genee, 4i2. 4) Mey, 44, Ranisch, 28, says that the Nuremberg Mastersingers had a festival a week after Pentecostal Sunday at Wohrd--but this was because the expenses of meeting in the church were too great. Wagner has also arbitrarily assumed that there were two Critic's Seats (Gemerke), a smaller and a larger, the first to be used at the Open Singing, the second in the Singing-school (VII, 164). This is a gratuitous invention of his, as is also the marking of the song by Beckmesser as the only critic, instead of the customary three or four. This latter device was however necessary, since only Walther's rival would have criticized his song so severely. Poor Walther is marked, too, according to rules that he has never heard, for from the Leges Tabulaturas have been read to him only the introductory part, and David's glib enumeration of errors contains no real information. There is a curious slip in Hans Sachs' speech immediately after his reception by the apprentices and people in the third act. Sachs informs...