Richard Wagner’s Meistersinger is not a frequent title at La Scala, where it was seen for the last time in 1990. For this reason, the current production has attracted Wagner lovers in an almost sold out house, in spite of the length of this monumental opera. And they have not been disappointed, especially by the orchestra, which played under the baton of a world acclaimed Wagner specialist Daniele Gatti.

The production, directed by Harry Kupfer, came from Zürich, and adapted easily to the stage of La Scala. It featured a single, turning set by set designer Hans Schavernoch, showing the ruins of Saint Catherine’s church in Nürnberg, the church where the historical Meistersinger used to meet. This church which was bombed during the Second World War has only partly been restored, and its ruins are currently used for open air concerts. In this way, the sets created a link between history and the present. A blooming tree to the side of the stage provided the open-air setting that was devised by Wagner for the final part of the opera, while the ruins, partly surrounded by metal scaffoldings,  adapted easily both to outdoor and to indoor scenes, also thanks to the contribution of video designer Thomas Reimer, with different levels available for the action.

The cast was led by the authoritative and completely idiomatic Hans Sachs sung by baritone Michael Volle, with bass Markus Werba adequately obnoxious as Sixtus Beckmesser, and bass-baritone Albert Dohmen as a paternal Pogner. At the second performance, tenor Michael Schade, who should have sung in the role of Walther von Stolzing, fell suddenly ill, and was replaced at the last moment by Erin Caves, who tackled the killing score with honors.

Soprano Jacquelyn Wagner was a determined Eva, effectively supported by mezzo Anna Lapkovskaja as Magdalene and tenor Peter Sonn. Many of the side roles were covered by singers from the young artists programs of La Scala and the Zurich opera, who gave a valuable contribution, as did the chorus.

The most beautiful notes however came from the perfectly tuned orchestra, which blended perfectly as if creating a single instrument, to the delight of the enthusiastically cheering audience.