No commercially available studio versions of Die Meistersinger in stereo were available until Herbert von Karajan’s 1970 Dresden performance, a “Great Recording of the Century” if there ever was one. First, EMI’s remastered sonics are somewhat brighter and weightier in this mid-price reissue compared to the 1988 full-price edition. The sound oozes gorgeousness, and so does the creamy but muscular Dresden Staatskapelle. And while Karajan often sought an abstractly transparent Wagnerian sound-world from his Berlin Philharmonic, he doesn’t polish the Dresdener’s “old gold” so much as he gently hones the textures to clarify Wagner’s webs of orchestral and choral complexity. The massed voices, for instance, are always positioned in proper perspective relating to the dramatic needs. And the riot at the end of the second act seldom has emerged as clearly and vivaciously as it does via Karajan’s frisky baton.
This cast best typifies Karajan’s preference for lighter voices in Wagner. Theo Adam’s Hans Sachs is an iron presence within a medium-sized instrument, and Rene Kollo’s radiant Walther far outclasses his vocally frayed counterpart for Solti five years later. He is tellingly partnered by Helen Donath’s similarly youthful Eva. Some listeners may find Geraint Evans’ Beckmesser to border on buffoonery. By contrast, the musicianly Peter Schreier is a shade reticent as David. Karajan stalwart Karl Riddersbusch shines with calm authority as Pogner, and Ruth Hesse makes the most of Magdalene’s supporting role. Veteran collectors might lean toward Karajan’s more impulsive 1951 Bayreuth EMI recording. As an overall achievement, however, Karajan/Dresden remains your basic Meistersinger. [12/13/1999]
