Los maestros cantores

by Richard Wagner

Única comedia musical escrita por R. Wagner (1813-1883) que le dio forma de ópera cómica, estrenándose en Munich en 1868. Recrea la época de los trovadores germánicos, los Minnesingers, si bien traslada la acción al Nuremberg del siglo XVI. El genial autor alemán nos canta con brillantes pinceladas el triunfo de la libertad de los tiempos, frente a los encorsetados cánones antiguos.

Genres: Music, Classics, German Literature, Drama

155 pages, Hardcover

First published January 1, 1963

About the author

Germanic legends often based romantic operas of especially known composer Richard Wagner, who worked Tannhäuser (1845) and the tetralogy Der Ring des Nibelungen (1853-1876).

From 1872, Richard Wagner lived at Bayreuth to 1883 and designed the opera house, used chiefly for performances of his works.

Works of Jacques Martin Barzun include Darwin, Marx, Wagner (1941).

Wilhelm Richard Wagner conducted, directed theater, and authored essays, primarily for his later called "music dramas." Unlike most other greats, Wagner wrote the scenario and libretto.

https://en.wikipedia.org/wiki/Richard...

Reviews

[Jeremy · Rating 5 out of 5]

What an incredible score! Following this while listening to the opera is a marvel and good preparation for Bayreuth!

[anna · Rating 3 out of 5]

Hans Sachs fanfiction😩

[Tentatively, Convenience · Rating 3 out of 5]

Before I read this translation of the libretto I read the Peter Branscombe translation that came w/ the recording of the 1951 Bayreuth Festival recording - reading the libretto while following along w/ the music. I'm not a Wagner enthusiast - it's not entirely a matter of detesting his anti-semiticism, I can even 'forgive' him his nationalism (after all, Germany was divided during much of his day so the political clime was much different from now) - it's more a matter of not always finding the music to be really that interesting. BUT, I don't find the music ENTIRELY w/o interest either. The complexity of the interweaving of the voices in the fight scene in Act II is pretty impressive.

Given that I've read TWO translations, I DO find it some what interesting to find that in Branscombe's version the tree in front of Pogner's house is a lime-tree & the one in front of Sachs' is an elder - whereas in this Gutman version Pogner's is a linden & Sachs' a lilac. I reckon the Branscombe refers specifically to the way the Festival presented it & that the Gutman refers to what's called for in the original. Dunno. It seems like the symbolism cd be thrown off by such variations.

If I understand correctly, the basic story pre-existed Wagner's version of it. There're things I like about the story & things I don't - I don't know wch parts Wagner added. I imagine that he added the nationalist twists - esp Sachs' bit at the end. All in all, I found it fascinating enuf - the libretto strikes me as fairly long (my recording of the opera is on 5 records), over 3 hrs, &, if nothing else, I'm impressed by the magnitude of creating such a work - of writing the libretto, of composing the music, imagining the staging, etc.. PLUS, I didn't realize until recently that Wagner had even composed any comic operas - & that's wherein a large portion of my interest lay.

[Thom Dunn · Rating 5 out of 5]

Book is stand-in for performance at Cincinnati Music Hall, 6-23-2010 and for the playbill, Cincinnati Opera 2010. Folded into the latter is information about the newly begun Wagner Society.

I find it a happy irony that this very opera tells us to look beyond all that is mundane and vile to celebrate German folkways and values that are life-affirming and eternal. Wagner's racism is a topic, IMO, separate from his music and only marginally illuminating the text of his operas. Surely it is possible to condemn Wagner's anti-Semitism , yet still celebrate his miraculous achievement.