I have note in my score of seeing Meistersinger at the ENO in May 1989, with Gwynne Howell (Sachs), Jane Eaglen (Eva), Alberto Remedios (Walther - in a distinctly dodgy wig, I recall), Alan Opie (Beckmesser), John Connell (Pogner), Bonaventura Bottone (David), Anne-Marie Owens (Magdalene), conducted Elder.  I don't know if it has been done since.

Thanks, Opi. But I've always thought that the RING is the most ambitious operatic undertaking, and ENO mounted a new production of the cycle not long ago. With stars like Tomlinson and Allen around, is MASTERSINGERS really too much for this company? It doesn't have to be a SACD-orientated production!

I suspect, Parsifal, that cost is the main deterrent in any proposed staging of "Mastersingers"; even facilitating, as you suggest, an act per day would make the enterprise even more expensive.   Even a one-off concert performance would be uneconomical and additional performances, spread over several days, would only add to the cost.     Perhaps the new MD to ENO may consider a new production with the same creativity the company have brought to "Death in Venice".

Enthused by this thread, I again watched an off-air video of "Goodbye, George!", the 1985 Farewell ENO Gala to Lord Harewood    We discussed this delightful evening on another thread, a few months ago, in another place.   I have great affection for this performance as it included many principals from the 1960/70s and it reminded me of the loving and loyal audience which also increased as Sadler's Wells segued into the ENO.    Perhaps the later Power House "lot" strained relations a bit but they also brought an era of innovation, apart from the fetish of stark design and the use of greatcoats!

Norman Bailey featured in the evening but Gwynne Howell sang Sachs in the Act 3 monologue in his workshop.   Rather touching to see the same props from the 1960's.    A delicious and stylish sextet from "The Merry Widow" led by Emile Belcourt - well remembered as Loge.     Jessye Norman was a surprise guest; Elizabeth's greeting from "Tannhauser";      Sarah Walker as "Gloriana" reminded George Harewood, in conversation with Jonathan Miller,of the setbacks in the first production at Covent Garden, followed by the opera's growing reputation, leading to a big success in the ENO's tour of America.    A useful exchange of views on the advantages/ follies of opera in English.   The highlight, for me, was Josephine Barstow's Pace, Pace, as it reminded me of the original 1978 production of "The Force of Destiny".     She brought the house down - and the house next door as well - with her thrilling performance.

A video which I speedily transferred to DVD. 

Returning to the Ring, I've listened to Rheingold a couple of times now and I like what Haenchen has managed; the 'pedal notes' that open the prelude are great and are clearly audible as we rise through the waters of the Rhine. Good Rhinemaidens. I think that Alberich (Werner van Mechelen - different from the other operas where Gunther von Kannen takes the role) is a little 'light' voice-wise and doesn't sound terribly menacing, certainly not compared to Ekkehard Wlaschiha on the Levine set, who spits out his curse.
The Wotan of Albert Dohmen is a very good characterisation - I look forward to hearing him in Walküre. Chris Merritt is the big surprise, as I posted earlier - a tenor more likely to be heard in Italian rep (he was Muti's Arrigo in Vespri), he sings well, with more power than I'd have thought usual in the role of Loge. That final Entry into Valhalla is quicker, lighter as the gods almost dance their way across the rainbow bridge, with no great hint of the troubles to come - much better than Levine's plod.

Walküre and Götterdämmerung both arrived today. I shall have to wait until the weekend to have a proper listen. Opliec, what do you make of the Götterdämmerung so far? Parsifal, have your sets appeared yet?

I've been lu-king around for the Haenchen* Götterdämmerung, but I've never found it anywhere. Doesn't seem to exist. Where did people locate it?

*a striking resemblance to Hähnchen, which means chicken...

ooo cheers IGI! 

I'll have to think about getting it. Certainly sounds like it's worth doing, though.

I’ve had a couple of listens to Götterdämmerung now as well, and have come to the same conclusions as opilec. I’ve usually found my interest waning after Walküre, but this flows along, gripping the listener in a way I’d not experienced in this opera before. Timings are quite revealing; Levine, in what is generally considered to be the best opera in his DG Ring, takes 270 minutes; Solti takes 265, which I found quite surprising; Haenchen’s got them both licked in 245 minutes! I don’t know how this compares to other versions, but the tempi really propel the action on. The orchestral contributions are very fine – the big moments come off well, to my ears – and there’s some good work from the brass.

Linda Watson and Stig Andersen continue to impress. Andersen is not an especially young tenor – why have I not heard of him before? He sings with real intelligence and beauty of tone. Kurt Rydl is suitably menacing as Hagen.

I agree about the placement of the break in Act I – after the prologue would surely have been better, but it’s a minor grumble. This has been a most insightful, entertaining Ring journey and one I shall be repeating often.

I shall look forward to Parsifal's reactions when his set arrives...