Melbourne Opera’s first major event for 2025, Wagner’s Die Meistersinger von Nürnberg, features an all-Australian (and exceptional) cast. Staged in the heritage-listed Royal Exhibition Building, this production is billed as the opera event of the year – yet falls short of its promise.
The stage is intimate in such an expansive space and beautifully designed by Andrew Bailey to complement the interior of the Exhibition Building. With a new set for each act, the design is functional and offers fresh tones that mirror the space around it.
It is well utilised in the first act, with a sturdy staircase and suitable spots for curious characters in the ensemble (the apprentices) hoping to get a first-hand look at the meeting of Mastersingers.
While apprentices can occasionally be seen walking or sharing stories in distant spaces, this is rare and the production would have benefited from a more creative use of the whole building.
During the fight scene at the end of Act 2, for example, the entire cast converges on the small stage to participate in a sequence of clunky blocking, instead of having apprentices witnessing the fight from afar and joining in on the commotion.
While costuming from Karine Larché clearly demonstrates the societal status of each character and is fitting for the time period, it mostly lacks personality and feels stock standard. Costuming for Christopher Hillier as Sixtus Beckmesser is an exception; he is dressed in blue chequered pantaloons, a square bob haircut and an extravagant floral headpiece, creating endless possibilities. In an enjoyable moment, Hillier (after coming off worse in a fight) plucks the wig flung over his lute and haphazardly places it on his head, before limping off the stage and nursing his wounds.
The cast and apprentices demonstrate exceptional vocal work. Lee Abrahmsen (Pogner’s daughter, Eva) and James Egglestone (Walther von Stolzing) work seamlessly vocally. Yet the staging direction is often awkward and, on occasion, obscures vocals with forced hugs or other physical touches that adds no emotional intimacy.
Hillier is another clear stand-out. Leaning into the comedic elements of Wagner’s work, Hillier is dynamic and surprising. His engagements with Warwick Fyfe (Hans Sachs) are particularly good, with the two playing off each other well – and resulting in many laughs from the audience.
While the apprentices have little action, they remain thoroughly engaged and responsive throughout.
Many companies across the country are currently grappling (and succeeding) with finding ways to make art forms steeped in history have relevance for modern audiences. Yet, despite the enormous potential to stretch beyond the established repertoire and ways of working, Melbourne Opera remains well within its comfort zone.
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Program notes claim this production of Die Meistersinger von Nürnberg is innovative, daring and radical. Yet, while it brings an exceptional group of people together, it is ultimately unremarkable and delivers nothing new other than a change of a standard venue.
Die Meistersinger von Nürnberg was performed on 16 February 2025 and will be performed again on 18, 20 and 22 February at the Royal Exhibition Building, Melbourne.
