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Wagner: Der fliegende Holländer [Import]

R. Wagner Audio CD

Price: CDN$ 13.47
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Disc: 1
1. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Ouvertüre
2. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 1. No. 1. Introduction. Johohe! Halloho!
3. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 1. Kein Zweifel! Sieben Meilen fort
4. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 1. Mit Gewitter und Sturm aus fernem Meer
5. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 1. No. 2. Rezitativ und Arie. Die Frist ist um
6. Der fliegende HollÃnder (The Flying Dutchman), opera, WWV 63: Act 1. No. 3. Szene, Duett und Chor. He! Holla! Steuermann!
7. Der fliegende HollÃnder (The Flying Dutchman), opera, WWV 63: Act 1. Durch Sturm und bösen Wind verschlagen
8. Der fliegende HollÃnder (The Flying Dutchman), opera, WWV 63: Act 1. SÃ1/4dwind! SÃ1/4dwind!
9. Der fliegende HollÃnder (The Flying Dutchman), opera, WWV 63: Act 1. Mit Gewitter und Sturm aus fernem Meer
10. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 2. Introduktion
See all 15 tracks on this disc
Disc: 2
1. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 2. Fühlst du den Schmerz
2. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 2. Auf hohem Felsen lag ich träumend
3. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 2. No. 6. Finale. Mein Kind, du siehst mich auf der Schwelle
4. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 2. No. 6. Finale. Mögst du, mein Kind, den fremden Mann willkommen
5. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 2. No. 6. Finale. Wie aus der Ferne längst vergangner Zeiten
6. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 2. No. 6. Finale. Wirst du des Vaters Wahl nicht schelten?
7. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 2. No. 6. Finale. Verzeiht! Mein Volk hält draußen sich nicht mehr
8. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 3. Orchesterzwischenspiel
9. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 3. No. 7. Steuermann, lass die Wacht!
10. Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Act 3. Johohohe! Johohohoe! Hoe! Hoe!
See all 14 tracks on this disc

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Amazon.com: 3.7 out of 5 stars  6 reviews
6 of 7 people found the following review helpful
4.0 out of 5 stars Great Bargain, Good Performance April 9 2008
By Steven Muni - Published on Amazon.com
Format:Audio CD
There are many wonderful versions of Wagner's Flying Dutchman available, and the competition is pretty strong. This recording is an excellent memorial to the late baritone Thomas Stewart, an American who performed primarily in Europe, being a long-time member of the Staatsoper in Berlin.
Although he may not have the instrument of some well-known Dutchmen like George London or Simon Estes, Stewart is an excellent singing actor and clearly portrays the loneliness and anguish of the title character. But he has to face tough competition, including the wrenching pain of Hermann Uhde or the gritty realism of Theo Adams, not to mention the sumptous voices of London or Estes.

His Senta is Dame Gwyneth Jones, a great English dramatic soprano of the 60s and 70s. Jones is in good but not great form here--plenty of emotion and her famous vocal wobble only a little in evidence. Again, she is up against some tough competition, like the incredible Leonie Rysanek or the ferociously dramatic Astrid Varnay or the searingly passionate Anja Silja, perhaps the best Senta of them all.

Karl Ridderbusch sings an excellent Daland, and the smaller roles are adequate if not memorable. Kubelik paces the orchestra well in this live 1971 performance at Bayreuth.

My personal favorite studio recording is the Klemperer version, with Adam and Silja. Adam is not everyone's favorite Dutchman, but I like the grainy texture of his voice in this role. And Silja is, I think, the finest recorded Senta. My favorite live recording is the 1955 Bayreuth performance conducted by Joseph Keilberth, (a badly under-appreciated Wagnerian conductor), and starring Hermann Uhde and Astrid Varnay. Despite the sometimes mushy mono sound, Uhde's and Varnay's performances simply haven't been surpassed for their intensity. But this version is quite good and for the price you can't beat it.
10 of 14 people found the following review helpful
5.0 out of 5 stars A first-rate live Dutchman from 1971 Sept. 22 2007
By Santa Fe Listener - Published on Amazon.com
Format:Audio CD|Verified Purchase
Although there are stretches of immature writing, The Flying Dutchman has held the stage almost since its inception because of the taut story, intense emotions, and flashes of genius on Wagner's part. All of that is splendidly captured in this live performance from Bayreuth in 1971. Karl Bohm displays expert command of dramatic pacing, and the sonics (from Radio Bavaria, I believe) are clear. Bohm thumps too hard in the final scene and goes slack in Senta's Ballad, yet on the whole he justifies his reputation as an opera pit meastro.

But this set's greatest virtues are the two leads. Thomas Stewart's reputation has been revived after a period of some neglect. He had the most distinguished Bayreuth career of any American, and I've long admired his Wotan for Karajan in Die Walkure (DG) and on a slightly lower level, his virile Hans Sachs for Kubelik (on several labels, including Myto). Here he makes for an acute, intelligent Dutchman with a splendidly focused bass-baritone in place of the all too prevalent woly bass. Stewart isn't the last word in suffering or haunted inwardness, but he far surpasses Theo Adam in Klemperer's otherwise glorious version (EMI) and sounds more suitably Germanic than Jose Van Dam for Karajan (EMI).

Stewart is paired with the young Gwyneth Jones as Senta, and I msut say she sounds utterly convincing. The voice, forceful but feminine, was in prime shape in 1971, and her dramatic instincts (always Jonnes's strength even after her voice frayed) hold your attentin from beginning to end (I dont hold it against her that Bohm loses impetus in the Ballad). Sheerly as a dramatic singing cast, this one is hard to beat. Karl Ridderbusch adds considerably as an authoritative Deland who doesn't bluster or mug.

All in all, I have no hesitation placing this budget reissue near the top of my list for this opera.
1 of 1 people found the following review helpful
4.0 out of 5 stars A fine document of a live Bayreuth recorded performance May 11 2014
By Pekinman - Published on Amazon.com
Format:Audio CD
First off, DG was making the best recordings at Bayreuth in the 1960s and early 1970s. This Holländer along with Böhm's legendary Tristan from 1967, and Boulez's Parsifal from 1970 were the only 3 DG recordings.
Philips was the main recording agent on the Green Hill at the time, and excellent as they were, DG were better.

The Böhm Tristan and Boulez Parsifal are justly famous and should be in every Wagnerian collection and even the collections of discerning opera-philes who want only the VERY best recordings in their libraries.

This Holländer is, I think, worthy of the same treatment. It isn't The Best but it is a wonderful capture of the Bayreuth acoustic. No fancy engineering, just a couple of mikes properly placed and that does the trick.

The cast is quite good, the only let-down being Erik, a Jon Vickers soundalike, until closer inspection, who carries his end well (it's a short thankless role) and actually makes you root for Senta's pash for the mysterious, sexy Dutchman when he floats into her ken. So no prob with the Erik. Domingo's Erik, by comparison, for Sinopoli, is a BIG HUGE prob because he sounds like a Latinate troubadour who has floated ashore in a tattered fishing boat outta the bay of Naples. Hermin Esser, Böhm's Erik does not inspire those kind of derogatory fantasies on the part of the experienced listener (a listener who expects value for his money).

Thomas Stewart is a lighter-voiced Holländer than usual, sounding almost helden-tenorish at times. His lower register is not as powerful as some, Hans Hotter, Hermann Uhde, Falk Struckmann or Alan Titus, for instance, but he is consistently In character and believable. His neurotic love interest, Senta, is portrayed with great depth of expression by Gwyneth Jones. I must add she is completely steady of tone. The thing with Gwyneth is that her intense and powerful voice often sounds like its wobbling when it is simply in high throttle and emitting syne waves at a high pitch and fast velocity. I've heard her in hyper-drive live in the house when the entire upper balcony in the San Francisco Opera were plugging their ears with their fingers, experiencing temporary deafness after her final lines in Die Walküre in 1985. Never to be forgotten. The Russian consulate staff was sitting near me and even they were impressed… da..da! God bless Gwyneth. She may not be ideal, as was Anja Silja for Sawallisch in 1962, also from Bayreuth (THE recording if you want a live one never to be repeated again), but she was a treasure and peremptory dismissers of her art are blinkered fools! So there.

Joneses Senta is extremely good, capturing the repressed sexual hysteria of the poor girl, stuck in some remote fjord with a bunch of clots after her for her breeding acumen, and family connection. Who wouldn't throw themselves into the waves to follow a dream rather than face THAT kind of reality? Now I ask you?!

Karl Ridderbusch is a superb Daland, right up there with Karajan's fatherly Kurt Moll, my favorite in this part.
Otherwise Karajan's recording is a pretty much a flop. Look for the live Salzburg performance with mostly the same cast, except for Catarina Ligendza's splendid Senta in place of Dunja Vejvovic's rather flawed one on the commercial recording.

DG recorded in a very in-your-face manner at Bayreuth. Philips allowed for more spacial perspective in Böhm's Ring and Boulez's Ring and all the others they made, mostly with Sawallisch. Classics all.
I happen to like the close focus on the singers. No one disappears into the woodwork, like Martti Talvela's sonorous bass Knappertsbusch's 1962 Parsifal, where he sounds like a 90 lb weakling at the back of the stage.

Karl Böhm generates Energy par excellence. There is nothing fancy about his conducting. He barely twitched when viewed live on the podium, but the results are something else entirely. This Holländer seethes with oceanic power and sexual angst. That is what this opera is all about.

I am partial to Dohnanyi's studio version on Decca with the highly under-rated (like Thomas Stewart) Robert Hale, with Hildegard Behrens in her finest Wagner recording.

The Sawallisch from 1962 with Franz Crass and Anja Silja is still The One. But you can't have just one of any of Wagner's titles.
6 of 8 people found the following review helpful
3.0 out of 5 stars Disappointing; other recordings far surpass this March 25 2008
By Ralph Moore - Published on Amazon.com
Format:Audio CD|Verified Purchase
I am a great fan of Thomas Stewart, which is why I bought this recording; I think his Wotan for Karajan and his Sachs for Kubelik are true monuments to his lovely voice and interpretative skills, but this "Holländer" simply does not hit the spot. I wondered why I was not previously aware of it and having played it, I can see why it is somewhat disregarded compared with other, classic accounts such as the live 1955 Bayreuth recording conducted by Keilberth. Sure, with Keilberth, you have to put up with relatively congested mono sound but it is now available in stereo on the Pristine label; they used the Eclipse stereo issued in the 70's as the basis for their own re-mastering which is well worth the extra cost. However, even in mono the intensity of the drama of the piece really emerges vividly when you have the voices and acting skills of two such performers as Uhde (who died prematurely) and Varnay.

Stewart never really gets under the skin of the tormented Dutchman and barely hits his stride vocally - maybe Bohm's rather rushed conducting harried him. As for Gwyneth Jones, that infamous wobble seems to be more prominent here than it is in her superlative Ortrud in Kubelik's studio "Lohengrin", recorded around the same time as this live performance; it is too obtrusive to allow me to admire her customary commitment to characterisation. Ridderbusch is his usual smooth, rotund self (the voice, not the man), Harald Ek as the Steersman is very good, displaying a fine, robust voice and really differentiating amongst the three verses of his ballad before succumbing to sleep - but a tenor called Hermin Esser, the Erik, is truly awful.

As a whole, this is not really worth purchasing when, if you want stereo, you can hear either the Pristine issue mentioned above or the splendid London and Rysanek in Dorati's 1961 set or even Karajan's later, troubled version with the noble, intense Van Dam and the best Daland in Kurt Moll - but Vejzovic is a bit of a trial compared with Silja and Varnay and Karajan too low-key and "symphonic". (I personally do not rate Theo Adam's Dutchman in Klemperer's EMI set, but others seem to like it very much; for me, he hasn't enough voice.)

So I reluctantly give this the thumbs down - I wanted to like it - and would steer you towards any of the other three sets I mention above.
4.0 out of 5 stars Yes, but... Nov. 10 2010
By P. Ho - Published on Amazon.com
Format:Audio CD
This 1971 recording from the Bayreuth Festival under the direction of Karl Bohm is one of the performances that I turn to in appreciation of Bohm's Wagner recordings. I have a three other "Hollanders" also recorded from Bayreuth (55, 59, 82) which are just as exciting but overall more consistently sung than this particular one (I gave away the Antol Dorati studio version with Rysanek and London which I could never get excited about).

First off Karl Bohm's conducting is simply wonderful. Filled with almost crude energy that works extremely well with such a relatively youthful work, Bohm's conducting never flags while the recording sounds much like Bohm's own recordings of the Ring and Tristan also from Bayreuth. The other hero in this performances is of course Thomas Stewart as the stalward Dutchman, who for some reason is underrated mostly due to one knit picky reason or another--it's a live performance for goodness sake! Warts and all! He sings most beautifully while coping with his strenuous music quite admirably. He gets wonderful support from Karl Ridderbusch's mellifluous Daland; it certainly takes a singer of Ridderbusch's caliber from making Daland become a bore.

Speaking of warts and all, then there's the rest of the cast. Specifically we have the one and only Gwyneth Jones as Senta. As she is caught here one can hear the beauty and radiance for such a romantic heroine, but one also hears that vibrato that widens into a wobble at the top and serious tuning problems in the middle range. And yet after all these years I have learned to live with her taking the positive with the technical faults. One either can take it or leave it. The Erik and Steuremann are tolerable, and Mary suitably ancient.

Certainly not a first choice but still very exciting and one that I turn to more often than not. As a first choice however personally I'd recommend the 1982 "Hollander" from Bayreuth with Estes and Belslev. But if those names don't excite you then check out the Bayreuth 1955 with Varnay and Uhde or the 1959 with Rysanek and London. But they are in mono. With these available I have had no reason to check the other more recent ones.

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