Wagner's Meistersinger Performance History Represention
N. Vazsonyi

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Richard Wagner's 'Die Meistersinger von Nuernberg' has been one of the most performed operas in the Western world, ever since its premiere in 1868, shortly after which it was adopted as Germany's national opera ('Nationaloper'), not least because of its historical coincidence with the unification of Germany under Bismarck in 1871. The three sections into which these studies fall cover performance, relationship to German history and, more elusively, specific issues of genre and interpretation. The first section, 'Performing 'Meistersinger'', contains three articles by internationally respected artists - conductor Peter Schneider, stage director Harry Kupfer and singer Dietrich Fischer-Dieskau - all experienced in the performance of this demanding five-hour work. ''Meistersinger' and History' examines both the representation of German history in the opera and the way the opera has functioned in history through political appropriation and staging practice. 'Representations', the third section, is the most eclectic, including articles on the problematic question of genre from the perspective of a theatre historian; the chronic issue of Wagner's chief opponent, Eduard Hanslick, and his musical and dramatic representation in the opera as Beckmesser; gender issues; and refererence to Wagner's own comments concerning the opera.