Die Meistersinger von Nürnberg

Mark Elder
San Francisco Opera Chorus and Orchestra
November or December 2015
War Memorial Opera House San Francisco
Recording Type
  live  studio
  live compilation  live and studio
Hans SachsJames Rutherford
Veit PognerAin Anger
Kunz VogelgesangAJ Glueckert
Konrad NachtigallSam Handley
Sixtus BeckmesserMartin Gantner
Fritz KothnerPhilip Horst
Balthasar ZornJoel Sorensen
Ulrich EißlingerJoseph Hu
Augustin MoserCorey Bix
Hermann OrtelEdward Nelson
Hans SchwartzAnthony Reed
Hans FoltzMatthew Stump
Walther von StolzingBrandon Jovanovich
DavidAlek Shrader
EvaRachel Willis-Sorensen
MagdaleneSasha Cooke
Ein NachtwächterAndrea Silvestrelli
Stage directorDavid McVicar
Set designerVicki Mortimer
TV directorFrank Zamacona

A rewarding operatic marathon in San Francisco

Composer and librettist Richard Wagner started work on Die Meistersinger von Nürnberg in 1845 thinking it would be good to follow the tragedy of Tannhäuser with a comedy. At that time he was the Royal Saxon Court conductor but, unfortunately, his politics resulted in his having to leave Dresden and try to find a new home, first in Paris, later in Zurich. Thus, he did not finish his second comedy until 1867. His first comedy, Das Liebesverbot, had been a resounding flop and the theater cancelled its second performance after quelling an all-out brawl between the prima donna’s husband and the leading tenor, but that was in 1836. He hoped to find a much better reception for Die Meistersinger. On 21 June 1868, he found an appreciative audience at Munich’s Königliches Hof-und National-Theater. The review in the Neue Freie Press found Die Meistersinger to be Wagner’s best work to date and it described the opera as containing “dazzling scenes of color and splendor and ensembles full of life and character that unfold before the spectator’s eyes.”

The production seen at San Francisco Opera has already been seen at Lyric Opera of Chicago and The Glyndebourne Festival. Sir David McVicar’s updated staging of Die Meistersinger moved the action from the middle of the 16th century to the early 18th century, so the costumes were in Empire style. The story of Walther, the visiting knight who won the song contest and eventually the hand of the beautiful Eva, remained unchanged. Vicki Mortimer’s scenery was realistic and placed the action in areas that would commonly have been frequented by the ordinary townspeople of Nuremberg.

This performance marked conductor Sir Mark Elder’s debut with the company and, beginning with the overture, he offered his individual interpretation of the score. He had an enormous range of dynamics and his tempi varied widely with the emotional values of each scene. Members of Ian Robertson’s chorus were ebullient, boyish apprentices and sophisticated, decorous burghers who sang with luminous harmonies. Together with Andrew George’s dancers, they expressed their enjoyment of the delights of the summer holiday.

Well-known baritone Greer Grimsley was originally scheduled to sing the leading character, Hans Sachs, but he cancelled some weeks earlier citing health issues. His replacement, James Rutherford, whose experience includes Bayreuth, was a most worthy alternative with an expressive voice. His Sachs was a man the audience could recognize by his integrity and innate humanity. With his passionate rendition of the monologue he reminded the audience that the world has always had to deal with “Wahn, Wahn, überall Wahn” (Madness, madness, everywhere madness).

Heldentenor Brandon Jovanovich was singing over a cold, but his tones sounded effortless and he was able to color them to fit each of his character’s situations. Rachel Willis-Sørensen simply sparkled in her San Francisco Opera debut as Eva. Her charisma made her an assured ingénue and her radiant soprano soared throughout the auditorium. Her voice was the embodiment of “Selig wie die Sonne” (Blessed as the sun), the opening line of the Act III Quintet. As her father, Pogner the rich goldsmith, Ain Anger was properly dignified and protective.

Martin Gantner’s Beckmesser was a well dressed town clerk who sang with unusually elegant tones and kept his amusing character within the bounds of credibility. As Magdalene, the smooth voice of Sasha Cooke contrasted well with that of Willis-Sørensen’s Eva. Alek Shrader as her future husband, the apprentice David, added his warm lyric voice to this colorful musical tapestry as did numerous fine artists who portrayed the other mastersingers. Casting Andrea Silvestrelli as the Night Watchman was a luxury that ended Act II on a memorable note. Die Meistersinger is a long opera, but few patrons left before its end. Thunderous applause greeted the final curtain as the audience expressed its gratitude for this fine performance.

Maria Nockin | 22 November 2015

The Mercury News

San Francisco’s ‘Meistersinger’ makes for a long, rewarding night at the opera

Depending on the production, “Die Meistersinger von Nurnberg” is either a joyful night at the opera or an endurance test.

The new San Francisco Opera production is a little bit — or a lot — of both.

Richard Wagner’s comedy has much to say about love, poetry and the power of music — and it takes a hefty five hours and 38 minutes, with two intermissions, to say it.

This is the company’s first “Meistersinger” since 2001, and while Wednesday’s opening performance at the War Memorial Opera House wasn’t ideal, it had plenty to recommend it: a strong cast, an ebullient orchestral performance led by conductor Mark Elder, and a big production directed by David McVicar and co-owned by San Francisco, Lyric Opera of Chicago and Glyndebourne Festival Opera. Like “The Trojans,” which McVicar staged for the company earlier this year, this is a massive undertaking, one that brings 138 singers, dancers, choristers and extras onto the stage.

“Meistersinger” isn’t like any other Wagner opera. There are no gods or goddesses, no Valkyries, no mythic figures. The story is set in a community of artisans. The central character is the poetic shoemaker Hans Sachs, who belongs to a local guild of master singers and decides to help the town’s newcomer, Walther von Stolzing, win the group’s annual songwriting competition. It’s a big-stakes bet. Whoever wins the prize will marry the beautiful Eva, and at least three men — Walther, the pompous town clerk Beckmesser and Sachs himself — find her enchanting.

It’s pretty clear that Walther’s going to prevail — there’s magic in every glance between the young nobleman and Eva — but in order to get there, he has to learn the rules of the competition, write a heartfelt song and perform it for the townspeople. Sachs in effect becomes his personal trainer.

McVicar’s production brings the action forward from its original 16th century to an early 19th century setting. Old Nurnberg looks suitably rustic, and McVicar’s direction favors humanity.

Despite the comic nature of the work — and “Meistersinger” boasts some fairly broad humor — Wagner’s score is radiantly beautiful. Walther’s prize song, Sachs’ “Fliedermonolog,” and the magnificent Act 3 quintet are just a few of its captivating musical episodes.

San Francisco Opera has weathered a string of cast changes this season, and this “Meistersinger” is no exception. Greer Grimsley, originally scheduled to sing the role of Sachs, withdrew due to health issues, and baritone James Rutherford was engaged. On opening night, Rutherford’s essentially lyric instrument sounded warm and expressive, if a shade too small for the War Memorial. While you couldn’t call his performance a commanding one, this Sachs projected the right combination of the character’s humanity, intelligence and longing.

Tenor Brandon Jovanovich sang the role of Walther with impressive strength and assurance. At the second intermission, the company announced that Jovanovich was suffering from a cold — although, listening to his powerhouse vocalism, no one would have guessed it.

Several artists make their S.F. Opera debuts in this cast. Chief among them is soprano Rachel Willis-Sorensen, whose generous, vibrant singing yielded an appealing Eva. Baritone Martin Gantner sang with elegant musical line as the small-minded Beckmesser, and bass Ain Anger was a solid Pogner.

Returning singers include tenor Alek Shrader, who delivered an earnestly comic David, and mezzo-soprano Sasha Cooke, exuding charm as Magdalene. Andrea Silvestrelli was a resonant Night Watchman, and the S.F. Opera chorus sounded robust in the crowd scenes.

Elder also made a favorable impression in his company debut. The conductor, currently music director of the Halle Orchestra in England, led a clear, expressive reading of Wagner’s score. If there were moments when the performance seemed to lag, it was still a rewarding night at the opera.

GEORGIA ROWE | November 19, 2015


S.F. Opera’s ‘Meistersinger’ unfolds slowly, gloriously

The curtain that rises on the first act of the San Francisco Opera’s enthralling new production of Wagner’s “Die Meistersinger” reveals a broad internal landscape. True, we find ourselves inside a church, packed with a congregation of Lutheran worshipers, but the space feels airy and well-lit, and the world it depicts seems to have room for plenty of goings-on.

And so it does, as Wednesday’s expansive and luxuriant opening performance at the War Memorial Opera House revealed. For “Meistersinger” — Wagner’s lone mature comedy and his longest and most relaxed single opera — this is a production that matches the composer’s every ambling feint and digression.

The result is an often glorious immersion in Wagner’s distinctive sound world, with a gleaming performance from the Opera Orchestra led by conductor Mark Elder, a large and largely first-rate cast, and a stage production that passes up no opportunity to fill in the specifics of the panorama.

It also means recalibrating your internal clock to embrace the scale of the affair without impatience or distraction. The company has advertised the performance as running 5½ hours, but the truth is closer to six, and no one, I think, has ever plausibly claimed that “Meistersinger” is a miracle of dramaturgical focus (in contrast with the “Ring” operas, which are almost as long and have not one inessential measure).

Yet what this production offers in place of sleekness or propulsion is a wealth of finely observed detail, both musical and theatrical, that helps create a world that feels as boundless as that opening tableau. Wherever you turn, the vistas seem to extend into the distance.

“Meistersinger” thrives on that expansiveness, not merely because of the scale of Wagner’s writing but also because the piece tackles no less momentous a subject than the creation and understanding of art. Set among the musical craftsmen of 16th century Nuremberg, it paints a portrait — heavily romanticized but not entirely removed from historical reality — of a world in which writing a song and turning out a solid pair of shoes are viewed as two aspects of the same creative process.

Into this setting comes the young knight Walther von Stolzing, who wants to bypass the elaborate rules of the master singers’ guild and succeed through the power of sheer unmediated inspiration. Well, not so fast — although Walther’s untrained art has a freshness and beauty that are new, it’s also undecipherable without the basic tenets of craftsmanship that are imparted to him by the kindly old singer and cobbler Hans Sachs.

The result is, at heart, a lively essay on aesthetics, but fitted out with all the trappings of a stage comedy — romance, spectacle and a pompous villain who gets his comeuppance in spades.

The San Francisco production, originally created by David McVicar and staged here by directors Marie Lambert and Ian Rutherford, encompasses both the jollity and the serious undercurrent of the work. The action is updated to the 19th century, which seems odd for a piece so rooted in a specific historical milieu, but that does no lasting harm, and it allows designer Vicki Mortimer to fit up the large ensemble with an array of eye-catching costumes.

It also makes room for more inviting sets, including a wonderfully busy interior for Sachs’ workroom at the beginning of Act 3. Elder’s unhurried tempos, and the formidable orchestral playing he elicits in a long-overdue company debut, only add to the inviting sense of space.

On Wednesday, the large cast mostly filled that canvas with brilliant, precise singing. As Walther, tenor Brandon Jovanovich added to his long list of vocal triumphs with a performance marked by ardor, tonal beauty and obvious fearlessness in the face of the role’s high-lying athleticism (the audience was alerted before Act 3 that Jovanovich was singing with a cold, but the formulaic plea for indulgence was scarcely warranted).

Matching him phrase for silvery phrase was soprano Rachel Willis-Sorensen, who made a tremendous company debut as Eva, the daughter of Nuremberg’s goldsmith and the prize for which Walther is in contention. In a good performance, one can almost forget that Wagner has made the leading soprano role essentially a golden trophy cup with vocal cords; Willis-Sorensen’s singing, both robust and fine-grained, did the trick.

The evening’s only weak spot was James Rutherford’s vigorous but unfocused performance as Hans Sachs, which boasted plenty of sound but not much expressive depth or dramatic presence. He wasn’t helped by the directors’ decision not to present him as older than the other characters, since that’s a point on which much of the drama turns.

“Meistersinger” boasts a secondary pair of lovers — the apprentice cobbler David and Eva’s maid, Magdalena — and they were embodied with extravagant grace and artistry by tenor Alek Shrader and mezzo-soprano Sasha Cooke. Cooke in particular is always a star, but even by her exalted standards, this performance — marked by rich vocal tone and a vivacious stage demeanor — was a cut above.

There were commanding debuts as well from Martin Gantner, in a strongly sung, funny but sympathetic performance as the officious town clerk Beckmesser, and from Ain Anger as Eva’s father, Veit Pogner. Ian Robertson’s Opera Chorus made a sonorous and well-tuned passel of burghers in the opera’s many crowd scenes.

There’s no way to pretend that this “Meistersinger,” for all its obvious virtues, will suit the taste of all comers. But the chance to dive deeply into its capacious and layered world is a rare treat.

Joshua Kosman | Thursday, November 19, 2015

Financial Times

Brightly sung

The singers in David McVicar’s staging were reassuringly excellent

San Francisco waited 14 years for a revival of Wagner’s only mature comedy. The work resurfaced last week, and patient Wagnerians have been rewarded with a humanely conceived, arrestingly conducted and brightly sung production that disappoints in only one major contribution. A Meistersinger without a memorable Hans Sachs, the mastersinger-cobbler-poet who represents the collective sensibility of the community, leaves a hole at the heart of a performance.

Deputising Sachs, the widely experienced James Rutherford offers a tightly projected, reliable, greyish sound which, through sensible pacing, sustains him through a six-hour performance. But the warmth and resignation that can elevate the exchanges with the nubile Eva into hauntingly yearning episodes are missing. And the crucial monologues in Acts Two and Three pass almost uneventfully. That puts a strain on the rest of the cast, which includes four major-role debuts. If they represent a new generation of Wagner singers, we can all rest easy.

Tenor Brandon Jovanovich inhabits Walther von Stolzing as if the role were his birthright and, despite having a cold at the opening, delivered an ardent Prize Song deserving of laurels. In a house-role debut as Eva, Rachel Willis-Sørenson’s playful spirit and radiant lyric soprano cast a benediction on the Act Three quintet. Alek Shrader, his voice grown since his debut here in 2008, lent his light tenor to apprentice David; the reading of the rules seemed like a lesson in bel canto. Sasha Cooke proved the most adorable of Magdalenes and Ain Anger’s Pogner exuded compassion, while baritone Martin Gantner introduced a fussy Beckmesser free of cliché.

The production’s dominating debutant was conductor Mark Elder, who led a daringly expansive reading. The prelude and Act Three introduction offered leisurely tempi, sometimes at the expense of dramatic progress, but Elder elicited orchestral flourishes missed by other maestri. The orchestra, 76 strong, sounded lithe and luminous.

David McVicar’s production, previously seen at Glyndebourne and Chicago (here tended by Marie Lambert and Ian Rutherford), abounds in details of contrasting characterisation. McVicar has moved the action to the early 19th century, giving this staging the appearance of a Jane Austen adaptation with Gothic arch decor (by Vicki Mortimer) that looks small on the War Memorial stage. The choreography, consisting mostly of shimmies and conga lines, smacks of popular theatre.

Allan Ulrich | NOVEMBER 23, 2015

Opera Today

Falstaff and Die Meistersinger are among the pinnacles if not the pinnacles of nineteenth century opera. Both operas are atypical of the composer and both operas are based on a Shakespeare play.

Verdi looks ahead, Wagner looks back. It is hard to tell if the current production of Wagner’s Die Meistersinger von Nürnburg on the War Memorial stage looks forward or backward. Happily it is a return to an international production standard, increasingly rare at SFO, with British stage director David McVicar’s 2011 Glyndebourne version of Wagner’s masterpiece.

The conceit of the production seems to be that there are no cuts whatsoever to Wagner’s score. This resulted in an evening of five hours and forty minutes. Knowingly conducted by Mark Elder it did feel somewhat briefer than that, maybe like just about five hours. Still it was a long, very long evening.

This excellent conductor, once the music director of English National Opera, gave a firm, powerful and satisfying traditional hand to the famous overture, a tone that dissolved into a convincing lyricism that prevailed for the duration.

The David McVicar production was all about home-spun tradition, in fact the most moving moments of this lovely, emotional evening were Hans Sach’s admonition to Walther that he respect artistic tradition and Walther’s acquiescence to such respect.

As Wagner intended the philosophical and artistic meat of the opera was the shoemaker Hans Sachs. The real i.e. historical Hans Sachs shoemaker lived to the ripe old Renaissance age of 82, and there are those of us who remember the silver haired Hans Sachs of the four [!] SFO Meistersinger productions between 1959 and 1971. Just now the youthfulness of 43 year-old British baritone James Rutherford — an accomplished artist of wide expressive range — seemed at odds with the gravity we wanted and needed to award Hans Sachs for the first two acts.

But with Hans Sachs extended soliloquy that dominates the first scene of the third act we entered into a real and tortured, not yet age-resigned psyche. As Hans Sachs uncovered and contemplated a portrait of his dead wife and child his conflicts gained an apparent philosophical realness that took us to the elusive, profound plane Wagner wished to achieve. This high minded angst then dissolved into the famous quintet, the love triangle (Sachs, Eva and Walther) holding hands with the lesser beings (David and Lene) in a simple, soft lyricism that forsook the musical gravity that should illuminate this magnificent moment and make it magical.

The McVicar production and the Mark Elder orchestra more than anything else worked to demystify Wagnerian thought and to quell Wagnerian rhetoric. Further example were the phenomenal complexities of mid-summer night riot chorus graphically reduced to a few dancers and children cavorting across the front of the stage, and as more example, the phenomenal choral complexities of the mid-summer day celebration graphically defined by three jugglers on stilts — fortunately the solidity of the musical preparation was not compromised by the fragility of the precarious balancing and juggling.

Director David McVicar’s slick stagecraft was always supported by conductor Mark Elder’s direct lyricism. As intended on the stage and from the pit the result was anything but intimidating and this despite the extraordinary length that was so wittily and unnecessarily imposed.

The production discretely toyed with Beckmesser, revealing but not dwelling on the famous anti-semitic polemic inherent to this opera. Here Beckmesser was superbly enacted by German baritone Martin Gantner who towed a very fine line between ridicule and caricature. Distinctly costumed in all-black he somehow evoked our sympathy within the larger warmth of the production. However at the end Beckmesser the Jew was left seated at the extreme edge of the stage, far from and pointedly exiled from the Wagnerian reconciliation of art and love.

San Francisco Opera’s casting perhaps inadvertently supported the home-spun nature of the production as it unfolded on the War Memorial stage. With the exception of the two baritones it was unpretentiously cast. Montana tenor Brandon Jovanovich was a vulnerable Walther whose prize song (“Morgenlich leuchtend im rosigen Schein”) was just persuasive enough. Eva was sung by recent Houston Opera Studio graduate Rachel Willis-Sorensen whose tone I found shrill and whose vocal strength was not sufficient to hold together the quintet (not all my friends agree with me). Alek Shrader was vocally miscast though an exquisitely charming David while Sasha Cooke as Magdalene was vocally splendid. German bass Ain Anger as Eva’s father Veit Pogner added a further homey touch, his first act monologue shakily delivered.

It is a very great pleasure to hear San Francisco Opera’s fine orchestra and chorus in service to a fine conductor and a solid production.

Michael Milenski | 30 Nov 2015

Classical Voice North America

Die Meistersinger Takes Prize After Lethargic Start

Do they give pep talks at opera companies? Or did they spike the coffee during an intermission? I have no idea, but something happened at the War Memorial Opera House on Nov. 18 that suddenly turned a routine performance of Wagner’s magisterial comedy Die Meistersinger von Nürnberg into something beautiful and special.

It was as if Wagner’s extraordinary Act III music lesson on how to develop an undisciplined yet inspired idea into a hit aria was being translated into the general arc of this performance. Not everyone who attended stuck with it to find out; after all, it was a weeknight, and the hour was getting late for workaday San Francisco (the performance started at 6 p.m. and didn’t end until a quarter to midnight). But the payoff was well worth the wait.

Depending upon the tempos, Die Meistersinger may be the longest opera in the general repertoire, although it often seems to go by more quickly than many a shorter opera. Only Parsifal and Götterdämmerung can challenge it in length, and the sprawling Act III alone could make for a full evening at the opera. As David McVicar, the director of the Glyndebourne production that was exported to San Francisco, said in the program notes about Act III, “We had to keep a lot of energy in reserve.”

So they did — and perhaps they overdid the restraint. Conductor Mark Elder’s slow, lumbering pacing and heavy legato phrasing in the Act I Prelude gave the impression that this was going to be a long, long night at the opera. Most of Act I sounded a little flat, with brief spurts of energy, and things picked up only somewhat in Act II. The singers seemed to be holding back; sometimes they could not be heard properly over the orchestra from a vantage point of Row P in the orchestra section unless they were at the edge of the stage (in the case of tenor Brandon Jovanovich, it was announced that he was suffering from a cold). Only bass Ain Anger’s solidly authoritative Pogner was consistently in full gear from act to act.

If there was a turning point, it might have been Hans Sachs’s famous monologue “Wahn! Wahn!” shortly after the beginning of Act III. Baritone James Rutherford, an experienced Sachs brought in to replace Greer Grimsley after the latter withdrew from the production in October, gave the monologue an impassioned fervor in which Wagner’s words about the squabbles of 16th-century Nuremberg resonated with current atrocities in the news. (As if to drive home the point, operagoers leaving the theater were immediately confronted with the French tri-colors lighting up City Hall across the street.)

From that point onward, everything — like Walther’s “Prize Song” — seemed to bloom. Elder’s conducting achieved a flow, richness, and passion that were lacking earlier. As Eva, Rachel Willis-Sorensen turned up with newfound radiance in voice as well as appearance. Despite Jovanovich’s condition, his Walther displayed hardly any signs of illness in his highly moving multiple renditions of the evolving “Prize Song.” The scene in which Beckmesser steals the manuscript of the “Prize Song” from Sachs crackled with fine comic acting, and the Quintet surged and ebbed poignantly. The burst into bright daylight in the meadow in Scene 2 also found the chorus bursting forth with a new resplendency, and the Mastersingers’ march achieved a grandeur that was completely missing in its first exposure during the Act I Prelude.

Unlike most of his brethren on the European continent these days, McVicar didn’t send this Meistersinger through the fun-house rituals of Regietheater: neither a swastika nor a neon tube was in sight. Although McVicar updated the locale and dress to around the year of Wagner’s birth (1813), this was a more-or-less traditional production in which the director was interested in unorthodox character interpretations that grew from what Wagner wrote.

His idea of Beckmesser was not the common caricature of a carping, incompetent music critic (thank you, McVicar!), for he seemed to realize that Beckmesser after all is a fully-vested master himself, and in this rigid society, you didn’t get to that point by faking your way there. Thus, baritone Martin Gantner was permitted really to sing Beckmesser’s part. Even in the passage where the overmatched pedant tried to interpret Walther’s new song, Gantner actually did a very musical job while still getting laughs with the help of the hilarious supertitles.

Rachel Willis-Sørensen (Eva) and James Rutherford (Hans Sachs) in ‘Die Meistersinger von Nürnberg’ (Cory Weaver) Sørensen (Eva) and Rutherford (Hans Sachs), credible in their mutual attraction.

Physically, Rutherford seemed rather young to be playing the middle-aged cobbler Sachs — he looked barely older than Eva — but in a way, it made the mutual attraction more credible. Act III revealed an angrier, lonelier Sachs than most, flinging a chair across the stage in the “Wahn! Wahn!” monologue as he seemed as distressed about his attraction to Eva as he was about the state of the world, and losing his composure altogether when Wagner slyly quotes the Tristan chord progression as Sachs faces giving up Eva.

The final, usually triumphant bars of the opera were shadowed by an unusual poignancy this time, for when Sachs was given the laurel crown by Eva, he hurled it away to the folks on an elevated platform and walked dejectedly into the crowd — a celebrated fighter for the cause of German art, yet unlucky in love. In any case, Rutherford sounded remarkably fresh at the end of the marathon. (Reeling back the years, I remember how exhausted even a great Sachs like Karl Ridderbusch seemed at the end of another San Francisco Opera Meistersinger, in 1981.)

As the secondary pair of lovers, tenor Alek Shrader was an eager young David, pointing out the words effectively in his long Act I discourse about the song contest rules, and mezzo-soprano Sasha Cooke was a generally strong Magdalene. Co-directors Marie Lambert and Ian Rutherford packed the War Memorial stage to bursting with Nurembergers in the Act II riot scene — and everyone in town, not just the apprentices, kicked up their heels in deliberately clumsy dancing out on the meadow in Act III, Scene 2. All of the locales were framed within the same set of Gothic arches, most effectively deployed in Act I (which opens in a church) and somewhat incongruously elsewhere.

It takes a lot of resources to bring Die Meistersinger off, and San Francisco Opera has them. Hopefully, they will be able to bring the energy of the earlier acts closer to the soaring level of Act III in future performances, which run through Dec. 6.

Richard S. Ginell | NOVEMBER 20, 2015

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Possible dates: 18, 21, 24, 27 November, 2, 6 December 2015
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