Wagner: The Mastersingers [in English] Houston (1980) Stewart, Johns, Wells, Billings, Berberian 

Lawrence Foster, Houston Symphony Orchestra
(Recorded 14th March, 1980, Jones Hall, Houston)
Hans Sachs - Thomas Stewart
Veit Pogner - Ara Berberian
Kunz Vogelgesang - Carroll Freeman
Konrad Nachtigall - Brad Liebl
Sixtus Beckmesser - James Billings
Fritz Kothner - Rodney Stenborg
Balthazar Zorn - Ronald Raines
Ulrich Eisslinger - David Arlen Bankston
Augustin Moser - Price Browne
Hermann Ortel - Louis Otey
Hans Schwarz - Richard Vernon
Hans Foltz - Eric Halfvarson
Walther von Stolzing - William Johns
David - James Atherton
Eva - Patricia Wells
Magdalene - Diane Kesling
Nightwatchman - John Trout
The production was by Patrick Bakman. The stage designs and costumes were by Carl Toms. The English translation was by Frederick Jameson, with substantial revisions by Norman Feasey, Kate Pogue and Sterling Tinsley.
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Scott F. Heumann in "Opera" magazine wrote:
"Patrick Bakman's production and Thomas Stewart's Hans Sachs made this "Meistersinger" worthwhile. Stewart sang with warmth and acted with maturity and a commanding sense of the character's many facets. It would be hard to say which were more perfectly achieved-his subtle interactions with Eva, Walther, David and Beckmesser, or his seamless gradations of mood in the two monologues. Bakman used Stewart well, making Sachs an integral part of a closely interrelated community. This Nuremberg, one felt, did not just materialise with the overture and disappear at the final curtain; it took on a life of its own.
William Johns (Walther) had been much anticipated; it was disappointing that he turned out to be unheroic physically and provincial vocally. There was much to admire in Patricia Wells's loveable Eva, but the part did not suit her voice, lacking purity for the Quintet and power for "O Sachs, mein Freund". As David and Magdalene, James Atherton and Diane Kesling were a perfectly matched, youthful pair, singing lyrically and with clean diction. James Billings's Beckmesser ... was funny, if sometimes overdrawn and undersung.
Because there was no room in the pit for a full complement of strings, the conductor, Lawrence Foster, was at a disadvantage. One wondered, too, if the spectre of overtime pay for the Houston Symphony musicians dictated his fast tempos. His co-ordination of stage and pit was admirable, though."
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0:00:00 - Act 1: Prelude
0:08:52 - Act 1: "As to thee our Saviour came"
0:12:04 - Act 1: "Oh stay! A word! Don't be unkind!"
0:20:25 - Act 1: "David, come here!"
0:22:21 - Act 1: "Good sir, the Mastersinger's way"
0:25:15 - Act 1: "The Masters' tones and melodies"
0:31:23 - Act 1: "I beg you trust in my good favour"
0:35:31 - Act 1: "Good morning, Masters!"
0:38:34 - Act 1: "That lovely feast, Johannistag"
0:45:05 - Act 1: "My friend, with that I think you've gone too far"
0:49:35 - Act 1: "By quiet hearth, a fire aglow"
0:54:36 - Act 1: "Now, Masters, we will choose"
1:00:11 - Act 1: "Hear ye now!"..."Hear ye now!"
1:03:19 - Act 1: "Now have you finished?"
1:04:34 - Act 1: "Wait, Master! One moment please!"
1:12:04 - Act 2: "Johannistag! Johannistag!"
1:15:45 - Act 2: "We'll see if Master Sachs is home"
1:21:59 - Act 2: "The gentle breath of lilac"
1:27:45 - Act 2: "Good evening, Master! You're still working?"
1:36:22 - Act 2: "That's what I thought!"
1:38:14 - Act 2: "He's here now!"..."The time has come"
1:43:11 - Act 2: "Now some mischief seems to be planned"
1:46:06 - Act 2: "Jerum! Jerum! Hallahallohe!"
1:49:04 - Act 2: "The window is opening!"
1:54:42 - Act 2: "I see now dawning daylight"
1:58:28 - Act 2: "Are you now finished?"
2:04:11 - Act 3: Prelude
2:10:19 - Act 3: "Yes, Master! Here!"
2:14:27 - Act 3: "Saint John baptised on Jordan's strand"
2:17:33 - Act 3: "Fools! Fools! Everywhere fools!"
2:24:49 - Act 3: "My friend, good morning! You needed rest"
2:27:56 - Act 3: "My friend, when youth still weaves its spell"
2:30:46 - Act 3: "Warm in the gentle, soft glow of the dawn"
2:37:58 - Act 3: "A song by Sachs? Good Lord! Can it be?"
2:44:46 - Act 3: "Where's the song? I left it"
2:51:04 - Act 3: "Here's Eva! I was sure she would come!"
2:57:07 - Act 3: "The life of a cobbler is nothing but woe!"
3:02:31 - Act 3: "A child has been created"
3:06:19 - Act 3: "Glorious as the dawning that enchants my sight"
3:12:31 - Act 3: "Saint Crispin, Saint Crispin!"
3:16:09 - Act 3: "A dance? But what if your Masters see you?"
3:21:58 - Act 3: "Wake now, the dawn of day draws near"
3:24:26 - Act 3: "Friends, all this praise"
3:30:21 - Act 3: "Warm in the gentlemanly glow of the dawn"
3:34:19 - Act 3: "This song, in truth, is not by me"
3:37:11 - Act 3: "Warm in the gentle, soft glow of the dawn"
3:44:55 - Act 3: "Do not insult these men, my friend"
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"Die Meistersinger von Nürnberg" ("The Mastersingers of Nuremberg") is a comic opera in three acts by Richard Wagner, with a German libretto by the composer. It was first performed at the Royal Court and National Theatre in Munich on 21st June, 1868.

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