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Die Meistersinger von Nürnberg
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==Reception== {{Lang|de|Die Meistersinger}} was enthusiastically received at its premiere in 1868, and was judged to be Wagner's most immediately appealing work. [[Eduard Hanslick]] wrote in {{Lang|de|Die Neue Freie Presse}} after the premiere: "Dazzling scenes of colour and splendour, ensembles full of life and character unfold before the spectator's eyes, hardly allowing him the leisure to weigh how much and how little of these effects is of musical origin." Within a year of the premiere the opera was performed across Germany at [[Dresden]], [[Dessau]], [[Karlsruhe]], [[Mannheim]], [[Weimar]], [[Hanover]], and in Vienna, with Berlin following in 1870.{{sfn|Carnegy|1994|pp=137–138}} It was one of the most popular and prominent German operas during the [[Unification of Germany]] in 1871, and in spite of the opera's overall warning against cultural self-centeredness, {{Lang|de|Die Meistersinger}} became a potent symbol of [[patriotism|patriotic]] German art. Hans Sachs's final warning at the end of Act III on the need to preserve German art from foreign threats was a rallying point for German [[nationalism]], particularly during the [[Franco-Prussian War]].{{citation needed|date=January 2016}} {{Quote box |width=30em | bgcolor=#c6dbf7 |align=right |quote=Beware! Evil tricks threaten us; if the German people and kingdom should one day decay, under a false, foreign<sup>1</sup> rule, soon no prince would understand his people; and foreign mists with foreign vanities they would plant in our German land; what is German and true none would know, if it did not live in the honour of German masters. Therefore I say to you: honour your German masters, then you will conjure up good spirits! And if you favour their endeavours, even if the [[Holy Roman Empire]] should dissolve in mist, for us there would yet remain holy German Art!|salign=right |source='''Hans Sachs's''' final speech from Act III of {{Lang|de|Die Meistersinger}}<br /> <sup>1</sup> The word translated here as "foreign" ("{{Lang|de|welsch}}") is a catch-all term denoting "French and/or Italian." Wagner here referred to the court of [[Frederick the Great]], where French rather than German was spoken.}} ''Die Meistersinger'' was soon performed outside Germany as well, spreading throughout Europe and around the world:{{sfn|Warrack|1994|p=138}}<ref>{{cite web |title=''Die Meistersinger'': Performance History |url=http://opera.stanford.edu/Wagner/Meistersinger/history.html |date=2012-05-07 |access-date=2019-05-20 |author=Bogart, Richard S. |publisher=OperaGlass}}</ref> *Bohemia: 26 April 1871, Prague *Livonia: 4 January 1872, Riga *Denmark: 23 March 1872, Copenhagen (in Danish) *Netherlands: 12 March 1879, Rotterdam *United Kingdom: 30 May 1882, London, [[Theatre Royal, Drury Lane|Drury Lane Theatre]] under [[Hans Richter (conductor)|Hans Richter]]. *Hungary: 8 September 1883, Budapest (in Hungarian) *Switzerland: 20 February 1885, Basel *Belgium: 7 March 1885, Brussels (in French) *United States: 4 January 1886, New York, [[Metropolitan Opera House (39th Street)|Metropolitan Opera House]] under [[Anton Seidl]]. *Sweden: 2 April 1887, Stockholm (in Swedish) *Italy: 26 December 1889, Milan (in Italian) *Spain: 6 March 1894, Madrid, under {{ill|Juan Goula|es}} (in Italian) *Poland: 3 March 1896, Poznan *France: 30 December 1896, Lyon (in French), [[Opéra National de Lyon]] *Russia: 15 March 1898, St. Petersburg (in German) *Argentina: 6 August 1898, Buenos Aires, [[Teatro Opera|Teatro de la Opera]] *Portugal: January 1902, Lisbon *Brazil: 3 August 1905, Rio de Janeiro *South Africa: 1913, Johannesburg *Finland: 17 November 1921, Helsinki *Monaco: February 1928, Monte Carlo *Yugoslavia: 15 June 1929, Zagreb *Australia: March 1933, Melbourne *Romania: December 1934, Bucharest At the reopening of the [[Bayreuth Festival]] in 1924 following its closure during [[World War I]] {{Lang|de|Die Meistersinger}} was performed. The audience rose to its feet during Hans Sachs's final [[oration]], and sang [[Deutschlandlied|"Deutschland über Alles"]] after the opera had finished.{{sfn|Carnegy|1994|p=140}} {{Lang|de|Die Meistersinger}} was frequently used as part of [[Nazi]] propaganda. On 21 March 1933, the founding of the Third Reich was celebrated with a performance of the opera in the presence of [[Adolf Hitler]].{{sfn|Carnegy|1994|p=141}} The prelude to Act III is played over shots of old Nuremberg at the beginning of ''[[Triumph of the Will]]'', the 1935 film by [[Leni Riefenstahl]] depicting the Nazi party congress of 1934. During [[World War II]], {{Lang|de|Die Meistersinger}} was the only opera presented at the Bayreuth festivals of 1943–1944. The association of {{Lang|de|Die Meistersinger}} with Nazism led to one of the most controversial stage productions of the work. The first Bayreuth production of {{Lang|de|Die Meistersinger}} following World War II occurred in 1956, when [[Wieland Wagner]], the composer's grandson, attempted to distance the work from German nationalism by presenting it in almost abstract terms, by removing any reference to Nuremberg from the scenery. The production was dubbed {{Lang|de|Die Meistersinger ohne Nürnberg}} (The Mastersingers without Nuremberg).<ref>{{cite web|url=http://www.wagneroperas.com/index1956meistersinger.html|title=Wagner Operas – Productions – ''Die Meistersinger'', 1956 Bayreuth|website=Wagneroperas.com|access-date=19 May 2018}}</ref>
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