Word: walther
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...this was, during a performance (the opening of the rebuilt National Theater in Munich). Basses Otto Wiener and Hans Hotter give their well-established interpretations as Hans Sachs and Veit Pogner, but the freshest voices belong to two Americans, Soprano Claire Watson as Eva and Tenor Jess Thomas as Walther...
...lives in a Scarsdale mansion in stead of a London flat, and never ever packs a shoulder-bolstered Walther PPK automatic. But there is more than a soupçon of the fictional counterspy in trim, urbane Nicholas Deak, who is the James Bond of the world of money...
...picture is about envy. A French newspaper writer (Jacques Charrier) comes to a village outside Munich and, after basking for a while in self-pity because nobody will notice him, manages to meet a jolly German (Walther Reyer) who is a famous and successful author. To Charrier's amazement, Reyer and his stunning wife (Stephane Audran) make him feel so at home in their luxurious villa that he soon has a latch-key familiarity with the couple. This sudden rescue from loneliness should make Charrier happy; instead, watching Stephane perch adoringly on the arm of her husband...
...week's two most important debuts ∙Tenor Jess Thomas, 35, sang Walther in the Met's production of Die Meistersinger, and should have won a pocketful of raves. In the demanding role, his voice soared in steady flight above the stentorian heaviness of the Wagnerian orchestra: after the ardors of two long acts, he still had a great reservoir of lyric beauty left for the Prize Song that finishes the performance-and finishes the pretensions of a good many tyro tenors with it. A big (6 ft. 3 in.) and muscular South Dakotan, Thomas may well...
...voice is as pure as mountain air. As Walther, he seemed strong and bashful, creating a likable understatement of the part that might have annoyed Wagner but seemed just fine at the Met. Having built toward his Met debut since 1958, when he first appeared with the Baden State Theater in Karlsruhe, Thomas was mildly disappointed by the morning silence that followed his big night. But he has the consolation of two more leading roles at the Met this season (Bacchus in Ariadne and Radames in Aïda) plus opera and recording contracts that will keep him busy...