Der Fliegende Hollander: Comp [Import]

This isn't really a very good recording. Levine's treatment of the music is episodic and, at times, rather lifeless, and he fails to portray both the turmoil on the physical and psychological level.

Morris's voice is drier than usual and his Dutchman cannot be said to be one of his best achievements. Voigt sings beautifully but sounds underpowered as Senta. Above all, she completely misses the passion of the character. Heppner's Eric, by contrast, is one of the best on record.

As there are better recorded versions around, this set is by no means an essential buy.

This is perhaps the starriest-cast 'Hollander' that one could assemble today, and though the extra degree of intensity may not be as prevalent in this recording when compared to its bretheren, the disc does not at all disappoint. I must admit that I am better equipped to speak on Senta than anything else, as it is my absolutely favorite role in all of opera. Senta operates an unusual place in Wagners ouvre. She is perhaps the most psychologically intense of Wagners heroines, a fact revealed in a look at the roles writing and its murderous tessitura which reveals that this isn't any 'common young spinning maiden'...and please let me say that Deborah Voigts voice does Senta and her plight justice. There is no questioning the contention that Ms. Voigt is one of the best operatic voices singing today. Her fame is well earned. Not in recent memory has such a ravishing voice, with such ample power, been heard. There is very little the woman can NOT sing, and why the Met has been so recalcitrant to grant her her oft-requested 'Macbeth' is beyond me- she IS incredible. Her Senta, it should thus come as no suprise to find, is gorgeous, but on this studio recording (live is another matter altogether) the intensity, indeed, the MANIA, that lurk within this character (so profoundly felt and expressed by her illustrious predecesors Anja Silja and Leonie Rysanek) is barely perceptable behind such waves and waves of gorgeous sound. Sentas madness, her impassioned belief in this her dream, the fulfillment of her destiny, and the shedding of her useless existence, is the heart and soul of the character. One must feel with Senta absolute exhaltation, frenzy even, at the end of this work and the sheer beauty of Voigts performance actually rather mutes this. This is not to say that I feel one must waver away from this performance. Hear it if only to hear one of the most incredible sopranos today partnered with more of her calibre... but by no means accept this recording as the operas recorded zenith... especially in regards to the passion, psychological depth and vitality that rage and brood within this work.

This Dutchman set is only flawed through Levine's tempi, which are a tad slow. Although the overture is grand and the best I have ever heard, his rendition of the spinning chorus and ballad are too slow. After seeing Voigt in Paris in June, she has to be the best Senta I have ever heard and this recording does not do her voice true justice. Heppner is amazing in his delivery and not strained like many tenors. Morris is fantastic! Groves is also great. The men of the chorus fare better than the ladies who sound like old women. If only Levine had been a tad faster in some places...