Die Meistersinger von Nürnberg | Staatsoper Stuttgart | 1.3.26

Die Meistersinger von Nürnberg | Staatsoper Stuttgart | 1.3.26

With her new production of Die Meistersinger von Nürnberg, director Elisabeth Stöppler undertakes the ambitious task of interpreting Wagner’s only “comic opera” as a multi-layered reflection on art, society, and ideology. The focus lies less on the romantic narrative than on the work’s reception history—particularly its ideological appropriation during National Socialism. While she does succeed in addressing this theme to a certain extent, the third act in particular appears at times overly overloaded.

This sense of excess is reinforced by Stöppler, set designer Valentin Köhler, and costume designer Gesine Völlm, who seem primarily concerned with exposing the Meistersinger as a dangerously nationalist propaganda construct. In the final meadow scene, the Nuremberg rally grounds are once again evoked, complete with the infamous grandstand from which Adolf Hitler once spoke. Walther von Stolzing appears with a characteristic side-parting and ascends into the sky in eagle-like fashion. The stage is awash in black, white, and red—the colors of the German Empire, later echoed in more aggressive form in Nazi symbolism.

This perspective results in a radical, at times deliberately provocative interpretation: the festive meadow becomes a Reichsparteitag setting, Walther is visually aligned with a Führer-like figure, and the ending turns into a disturbing allegory of Germany’s path into dictatorship, culminating in Stolzing’s ascent accompanied by imperial eagle imagery. Particularly controversial was the inclusion of Paul Celan’s Todesfuge before the third act—a moment that oscillates between profound remembrance and questionable sensationalism, provoking audible and at times unsettling reactions from the audience. Shouts such as “all Germans are Nazis anyway,” “Allahu akbar,” and “Death is Israel” could be heard from both stalls and balconies—hardly a fitting beginning to the longest of the three acts.

Musically, however, the evening proves convincing in many respects. Conductor Cornelius Meister opts for a lean, transparent reading of the score, emphasizing its contrapuntal structures with brisk tempi and clear orchestral balance. The prelude to the third act, in particular, unfolds with a deeply affecting, almost elegiac quality in the context of the preceding Todesfuge.

Among the soloists, Martin Gantner stands out as Hans Sachs, capturing the complexity of the role with strong stage presence and intense interpretative depth. Esther Dierkes presents Eva with a warm, lyrical soprano but remains less convincing dramatically, often fading into the background. Daniel Behle, by contrast, impresses as Walther with a radiant tenor and a solid stage performance. Björn Bürger delivers a nuanced Beckmesser without caricature, while Moritz Kallenberg makes a strong role debut as David, providing striking accents. Some of the smaller roles, however, remain both vocally and dramatically less defined. The Staatsopernchor, once again, impresses with its power and precision, contributing significantly to the evening’s musical success.

Ultimately, these Meistersinger remain above all a musically strong, vocally compelling ensemble achievement that engages with Wagner’s work on a high intellectual level—yet does not always arrive at a clear or fully convincing scenic vision. An evening that aims high, shows much, and leaves just as much open for debate.

Kirill Dokuchaev