Michael Volle as Hans Sachs dominates the production vocally and artistically giving incredibly human Hans Sachs. Noble in the sound and excellent in diction, he is also fully in charge of timing and the dramatic pauses. His touchingly sung “Do not despise the masters” monologued at the end marked a musical culmination of the evening. Johannes Martin Kränzle perfectly fits the role of Beckmesser. Well, he is the Beckmesser. With very individual sound and excellent acting skills, Kränzle created already from the very beginning a memorable and touching character.
Klaus Florian Vogt as Stolzing seemed to step out of 1930th. His diction is implacable and his voice, however small and of very individual timbre projects well. Making more agreeable impression live than on the screen, he sometimes had difficulties to overcome loud and dramatic passages. Anne Schwanewilms as Eva sang with beautiful, lyrical voice, gorgeously hovering in the quintet, often singing with overcovered sound thus scarifying the text. Bass Günther Groissböck as Pogner sung with a noble sounding voice and clear pronunciation. Daniel Behle as David has the most beautiful tenor, with excellent diction and impressive acting skills. Wiebke Lehmkuhl as Magdalene built vocally with her warm mezzo and her energetic acting a perfect companion for Behle. The rest of the cast including all Meistersingers confirmed the high singer's standards in Bayreuth. The festivals choir (Eberhard Friedrich) is another star of the evening singing and acting with expected greatness in sound and dedication in play.
Under the button of Phillip Jordan, the festival orchestra presented youthful - energetic and fresh sound, though sometimes covering singers and being reduced to accompaniment. In the prelude to act three Jordan finally elicited from the orchestra the thoughtful and profound Wagner sound, that we so much adore and love.