The Metropolitan Opera puts Richard Wagner’s Die Meistersinger von Nürnberg on the stage this month. The cast includes South African heldentenor Johan Botha in the title role; James Morris/Michael Volle as Hans Sachs; German soprano Annette Dasch as Eva; Paul Appleby as David; Karen Cargill as Magdalena; and Hans-Peter König as Pogner. Die Meistersinger is being welcomed back to the Met with open arms, as last season’s repertoire included no Wagner whatsoever. The last time the Met performed Die Meistersinger was in March of 2007; I was only nine at the time. However, even at my young age, I went to the see the opera several times, and I was seen singing on stage in the final scene of Act III alongside the Met Chorus, James Morris, and the Met Orchestra, all under the baton of James Levine.
My parents introduced me to Wagner at a very young age, when I incidentally heard a broadcast of Siegfried from the Bayreuth Festival at age five. This spawned an interest that swept my family upstairs to watch the entirety of the Otto Schenk Ring on DVD, and a year later, to the Met to see the Ring live (with my teddy bear, of course). Wagner’s music, from then on, had a greater meaning for me.
I joined the Met Children’s Chorus when I was eight years old, and only about six months later I was cast as a supernumerary, a character that does not sing or speak, in Mascagni’s Cavelleria Rusticana. I knew before entering the chorus the season before, 2005-06, that Die Meistersinger would be on the stage that March. I wanted so badly to be cast, knowing that it was Wagner’s music and that it happened to be my father’s all-time favorite opera. It would have meant the world to me to sing the music of the very composer who harvested my interest in opera.
In February of 2007, to my luck, I was cast in Die Meistersinger: The first opera in which I actually had a singing role. I vividly remember my mother picking me up from my fourth grade classroom so we could go into the city for “our” rehearsals. At the Met, the ten of us in the Children’s Chorus would change into our costumes, mine included a beautifully embroidered white frock, a brown apron, and a flower and ribbon-bedecked wreath pinned in my hair, and we would then head down to the Met stage. The assistant directors gave us directions about our entrances, exits, where we would leave props, how we should avoid getting in the way of the artists, and other crucial information. We would run the scene a couple of times each rehearsal, so I constantly hoped that James Levine or the directors would want to run it more than once so I could go back on the stage in my costume (or because I did not want to return to school for the last part of the day). I even once joked with Johan Botha, our Walther von Stolzing, backstage that he would have to win Eva again when we did a repeat of the scene. He let out a boisterous laugh.
The day of the final dress rehearsal came. Both of my parents were there: My mother played Second Oboe in the orchestra pit, and my father was in the audience. There was a twist, though: I sat in the audience with my dad for Acts I and II before I was called to warm up backstage for Act III. It felt so good to experience seeing Die Meistersinger for the first time with him, as he had been telling me for years how much it meant to him, and how much he looked forward to the day when he would share it with me live. That day had come.
I watched Johan Botha, James Morris, my mother, Maestro Levine, and many of the same people performing in this current December run give it their all in the first two acts. My dad then took me backstage so I could perform with them in the next act. We warmed up, put on our costumes, and headed down to the stage after we heard “Children’s Chorus to the stage (along with hundreds of others)” on the backstage PA system. After the quintet at the end of Act III Scene 1, Wagner wrote a ninety-second interlude to the second scene of the act. That is how long the talented, hard-working Met stagehands have to change the set of Sachs’ home into the meadows in the outskirts of Nürnberg for the song contest. Standing off stage right, I stood in disbelief as stagehands swirled around Sachs’ books, furniture, and desk, replacing them with banners, greenery, backdrops, and benches, let alone at least a hundred choristers and soloists. The soloists from the quintet would skip offstage just near where I was standing, so I would get waves of hello from Matthew Polenzani, who sang David, and others. It truly felt surreal to be in the middle of all of this.
After ninety seconds, most of the chorus ran or jumped onstage in excitement for Johannistag, the festival being celebrated. My entrance came just after the curtain opened, when the timpani starts rumbling. I remember the assistant director telling me “Run on right after the sausage man”, or one of the many merchants on stage selling his craft at the festival. I ran on, big-eyed, to see 4,000 faces in the Met audience, the Met Orchestra creating swells of sound, and everyone on stage enjoying the festivities. The shoemakers, the tailors, and the bakers would arrive, in that order, to present their products and make us laugh. Each of the children in the chorus were given little, fake trumpets to skip around the dancing tailors in a circle (I was always worried about tripping in my dress). Soon after the dance started, in which all of us taunted David about “Lena” watching him dance with other girls, pointing in different directions of where she was to confuse him. The dance suddenly stopped because the master singers were about to enter in the procession. John del Carlo, who sang Kothner, would always be one of the first masters out, walking downstage with his radiant smile. Hans Sachs would always enter last, picking up one of the children as he marched downstage to the sound of our cheers. After whispers of “Silentium”, the Chorus serenaded him in the great “Wach auf”, or “Wake up”, chorus, describing how a new day was dawning. I stood front and center, right next to James Morris, without an obstacle in the way of James Levine’s beat. Sachs responded in his monologue, praising the masters and the arts, leading to the song competition itself.
The choristers returned to their places and sat down in the grass, under the hot lights, to enjoy the contest. Beckmesser, sung by Hans-Joachim Ketelsen, began his song. He had stolen the lyrics from Sachs in the previous scene, but unfortunately he memorized the words incorrectly. We all laughed at his making a fool of himself until he stopped and blamed his performance on Sachs. As much as I feel the real children at the festival would have wanted to stay and hear Walther von Stolzing sing the Prize Song, the Metropolitan Opera Children’s Chorus chased Beckmesser offstage after he embarrassed himself. All of us then went back upstairs to the Children’s Chorus studio, changed out of our costumes, and greeted our parents at the stage door close to midnight.
Four more performances would follow this final dress rehearsal, and each of them were completed in the same fashion as the last. At all five performances, including the dress rehearsal, I shared the first two acts with my father in the audience, and sang on stage in Act III.
Seeing the final dress rehearsal of Die Meistersinger last Friday afternoon was tough. As I enjoyed the entirety of my Children’s Chorus career, even seeing the Children’s Chorus now sing in operas like Carmen and La Bohème makes me wistful. The children in this run are actually only supernumeraries, so they do not get to sing in the “Wach auf” chorus. However, seeing those kids up on the Met stage taking in that scene and being surrounded by Wagner’s music felt fulfilling, in that I was given the chance to perform in 2007, in place of someone else, and now someone was taking my place. Many of us choristers who sang in those performances in 2007 are now in college or are seniors in high school, and some of us are pining for careers in music!
It also made me feel good to see my mother playing in the orchestra pit, just as she was seven years ago: The lady who drove me into rehearsals, who I waved to in the orchestra pit, and who played in those very performances, continues to make me proud today. I still wave to her at every performance I attend at the Met, from the audience side instead of the stage. Die Meistersinger will always hold a special place in my heart, both as an opera and as a symbol of my family’s love of and devotion to music.