Die Meistersinger von Nurnberg in Full Score Review

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(More customer reviews)Along with Die Walkure, I ordered Die Meistersinger to give me a even greater look into German opera. I was extremely impressed with the outcome even though I had been told by many people that it was 'heavy' and I should avoid Wagner at all costs.

I won't get into the nitty-gritty stuff of comedy/tragedy but in comparison to Die Walkure, it's much lighter and quite funny especially when one character (Beckmesser) happens to steal a song written by someone else and on delivering, messes it all up and makes a fool of himself. The themes continue to come back at every oppurtunity and the whole thing links together as one.

Of course Wagner likes his big, fat scores - this one comes in just over 800 pages and the other Dover scores, it opens flat (or reasonably) and doesn't damage the spine, i.e. no creases.
Text is all in German apart from a translation of the contents, characters and orchestration so unless you've mastered the German language, get your hands on a german or music dictionary. See through is minimal. $30 is a very good bargain for such a big score.

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Product Description:
One of the greatest of comic operas, an extraordinarily adept and vivacious wedding of libretto and musical score. Meticulously reproduced from the definitive C. F. Peters edition, published in Leipzig, ca. 1910.

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Saturday Afternoons at the Old Met: The Metropolitan Opera Broadcasts, 1931-1950 (Amadeus) Review

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(More customer reviews)Even glacing through this superbly written volume will whet the appetite to sample the riches Prof Jackson discusses in this thick volume. This is not a pedantic dissection of broadcast after broadcast. Prof Jackson flows from one to another (not always in chronological order) with ease and smoothness. His history of how the Met broadcasts began and the evolving politics over the ensuing seasons makes for fascinating reading.

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Product Description:
Paul Jackson presents a rich and detailed history of the broadcasts at the The Metropolitan Opera in New York from their inception in 1931, when the imperious Gatti-Casazza ruled, on through the trouble regime of the more affable Edward Johnson.

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