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Although you don’t guffaw when you’re watching this opera, it is a comic opera, and it does have a lightness, a spring in its step, that I find is physically and musically very healthy. But of course I leapt at the chance, because it’s a piece I love. It fit into a slot where I could do it sometimes it’s as banal as that, frankly. Why did you choose to return with “Meistersinger”? So many of my colleagues are privileged to work with the chorus and orchestra of the Metropolitan Opera, why not me? I had to cancel a Met production way back, and Peter Gelb was very honorable about it, so I felt I needed to pay him back somehow. With all the competition that there is for people’s attention, for fund-raising, even for survival for classical music institutions, the job has become much more than just conducting. Well, I didn’t conduct any opera elsewhere either! I take the music directorship job very seriously, in the sense that the idea is to create a musical family, a family in general. Has your absence as a guest conductor at the Met simply been a case of being too busy? The surprising but welcome appointment will unite Pappano and an orchestra with which he has had a good relationship for decades, one heard to spectacular effect on a recent recording of symphonies by Ralph Vaughan Williams. He will head just a few tube stops east to replace Simon Rattle as chief conductor of the London Symphony Orchestra at the much-maligned Barbican Center, which is to remain that ensemble’s home after Rattle’s plans for a new hall were shelved. Pappano, 61, will leave Covent Garden in 2024, a year after he does the same in Rome. The run comes at a turning point in his career. Yet “Meistersinger” will be Pappano’s first appearance at the Met since his debut leading “Eugene Onegin” in 1997. There are few more reliably inspired conductors at work today than Pappano, who has been the music director of the Royal Opera House at Covent Garden in London since 2002 and of the Orchestra dell’ Accademia Nazionale di Santa Cecilia in Rome since 2005. 14 with a cast including Michael Volle as Hans Sachs and Lise Davidsen as Eva, is the long-awaited return of the conductor Antonio Pappano. Among the ample attractions of the Metropolitan Opera’s forthcoming performances of Wagner’s “ Die Meistersinger von Nürnberg,” which runs from Tuesday through Nov.