Time waits for no man, or in this case Hair Man waits not for The Independent. While I gave a characteristically long, and detailed example of how not to review a performance there have been several examples of how you should pen to paper. With Rigoletto only a hop skip and a jump away I'll have to push on with my roping of the reviews, apart from The Independent. And also The Times and the FT since I can't link to them now Rupert Murdoch has decided to implement phase 1001 of Project I Want To Own All Your Money.
Predictably the pros decided to wait until I'd rushed my review out before they scavenged it for all the best bits; WNO, Meistersinger, ., the. But my colleagues and I came to the same conclusion. Meistersinger was just a bit good.
Rupert Christiansen shed tears.
Jane Oriel loved the pyjama riot.
David Nice found that the bedrock of this towering company show is WNO music director Lothar Koenigs's natural grasp of the score's rich ebb and flow.
George Hall discovered the cast as a whole is impressive.
Stephen Hough on seeing Wednesday's performance found Bryn Terfel constantly finding Lieder-like moments of intimacy and subtlety.
Rian Evans scribed that the overall success of this “Die Meistersinger von Nürnberg” is timely and irrefutable proof of the quality and worth of this company when at its traditional best.
Andrew Clements scored it four stars out of five which pretty much equates to seven stars in real money.
If you're hankering for more Meister action WNO have released a few minutes of Bryn Terfel singing a bit of Hans Sachs reflective action from the set. And below you'll find a funky little behind the scenes documentary taken from WNO///3's website. And from The Independent? Probably a Meistersinger / Rigoletto double-header. I hope.
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