Hindemith conceived Mathis der Maler, his ‘opera in seven tableaux’, as a reimagining of Matthias Grünewald’s Isenheim Altarpiece, a depiction of Christ’s intense suffering and crucifixion. Set during the turbulence of the German Peasants’ revolt in the early 16th century, the work’s focus is on artistic freedom of expression and human isolation during a time of plague, repression and violence. Hindemith wrote his own libretto finding in Grünewald a metaphor for his own times. Performances of the opera in Germany were duly banned by the Nazis.

REVIEW:

The singing and the acting are excellent throughout. Wolfgang Koch’s baritone might be considered a bit light for Mathis, but one quickly forgets that. Tenor Kurt Streit is ideal for Albrecht. Manuela Uhl’s Ursula is the star of the show; her pearly dramatic soprano unfurling for her big scene with Albrecht. There’s not a weak link in the cast. Bertrand de Billy keeps tempos moving at all times. The direction is clear and straightforward; only the Temptations of Saint Anthony scene is a bit confusing—as perhaps it was intended to be; one must be on one’s toes to follow every detail.

Superbly translated English subtitles make it clear what a magnificent libretto Hindemith wrote to match his finest music, often voicing concerns that continue to reverberate today, as when Ursula asks herself “What else am I in this men’s world but a tool or a toy?” The radical young composer turned slowly into the ageing conservative; at this crucial moment (c. 1934) in that arc, he was at the height of his powers. The Nazis felt its social implications and prohibited its performance in Germany, where it happily outlasted them.

Subtitles are in German, English, French, Japanese, and Korean. This is a long-awaited first video representation of Mathis der Maler, much welcomed for its overall quality, including superb audio and video.

-- Fanfare