The Master Singers of Nuremberg

The Compact Disc proves to be a true and natural recording, showcasing an ideal balance between voice and orchestra, with just the right amount of air surrounding both elements. From a sound perspective, this addition to the CD catalogue is highly appreciated. When it comes to the conducting, Jochum's clear, direct, and warm direction is admirable, with added passion when needed, and without drawing attention to himself. The orchestral playing is consistently excellent, reaching remarkable heights in Act 3. Fischer-Dieskau's portrayal of Sachs is a subject of debate, with moments of fine legato and a deep understanding of the text conflicting with instances of explosive projection. Hermann's Beckmesser is straight and superbly sung, while Ludwig shines as an ideal Magdalena. Ligendza's Eva may not always be tonally perfect, but is better than other modern versions. As for Domingo, his secure and strong singing, rich tone, smooth legato, and bright sound make him stand out as the best singer of the role on recordings, alongside Schock and Konya for their idiomatic German advantage. Lagger's Pogner and Feldhoff's Kothner also contribute to the high quality of this set.

Some singers aspire to record a wide range of repertoire, regardless of its suitability for their voices. Fischer-Dieskau and Domingo fall into this category, with Fischer-Dieskau's extensive recordings showcasing his artistry, albeit lacking the depth needed for the role of Hans Sachs. Similarly, Domingo faces challenges in this Wagnerian territory, particularly with German diction. However, the recording's biggest flaw lies in the substandard chorus work, crucial for an opera like Die Meistersinger. While this recording may satisfy die-hard fans of Fischer-Dieskau and Domingo, it may not be the best choice for those seeking the definitive version of Die Meistersinger in their collection. --Christian C. Rix

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