In early 1968 Sadler’s Wells mounted an English-language production of Wagner’s Die Meistersinger that not only met with high critical and public acclaim but also established Reginald Goodall’s reputation as a Wagner conductor. BBC Radio aired the February 10, 1968 performance. Its first “official” release sounds light years better than pirated versions I’ve encountered in the tape underground and in newsgroups. However, a few editorial details warrant attention.
The annotations do not mention certain cuts in the score, although a few of these are “patched in” from the uncut September 1968 revival (also broadcast by BBC)–Act 3’s orchestral interlude, for example. Chandos also draws upon the later source for the Act 1 Prelude, presumably due to its superior sonics and orchestral execution. Chandos ought to have come clean about these emendations.
Wagner mavens will find much to savor. The superbly focused and well-characterized choral contributions reflect Goodall’s intensive rehearsals on a positive note, while the soloists’ diction largely renders the accompanying libretto superfluous. Goodall’s slow tempos work best in regard to the natural ebb and flow with which the numerous conversational scenes are articulated (Act 3’s first scene and roll call of the Masters, Act 2’s central episode with Eva and Sachs). At the same time, set pieces such as Walther’s two songs and the famous Act 3 Quintet might be defined as “slow motion minus the motion”, and die on the vine with little sense of a strong, underlying pulse and shapely line. Still, splendid singing abounds.
Alberto Remidios’ sweet toned, effortlessly lyrical Walther and Gregory Dempsey’s slightly dry yet irrepressibly engaging David complement each other, as do Derek Hammond-Stroud’s strongly acted and beautifully sung Beckmesser alongside Norman Bailey’s Sachs. Although Bailey’s expressive palette opens up more for his studio version with Solti (in German), here he’s in fresher voice. Soprano Margaret Curphey’s Eva improves with each act, and it’s refreshing to hear a lighter mezzo (Ann Robson) as Magdalene. As Pogner, Noel Mangin’s commanding presence may well be this cast’s strongest asset. The Nightwatchman’s few lines gorgeously showcase bass Stafford Dean early in his career. There’s more than enough memorable vocalism to consider this release as a supplement alongside my reference Meistersinger recordings.
