Search - Wagner, Adam, Npo :: Flying Dutchman

Searingly dramatic and intense

cdsullivan@massed.net | Cambridge, MA USA | 10/22/2000

(5 out of 5 stars)

""Der Fliegende Holländer" is the first real Wagner opera; the first opera in which his real voice comes through. It is also perhaps the most unrelentingly dramatic and intense of the three masterpieces he wrote during the 1840's ("Tannhäuser" and "Lohengrin" being the other two). As the string tremolo opens the overture, we are drawn into a world washed with sea salt and stormy spray: the world of the Flying Dutchman. A good recording needs to keep us in that world and not release us until the final chord has died away. This recording does that overwhelmingly.The great German conductor Otto Klemperer (1885-1973) was nearing the end of his career and his life when this recording was made in 1968, but this is arguably his finest recording (his Beethoven 6, Fidelio and Bruckner 6 are my other candidates). Klemperer is admirably well matched to this work: when he was at his best, as he is here, his work was elemental, a force of nature, which is exactly the type of conducting required in this opera. Helped by magnificent playing from his New Philharmonia Orchestra, he gives us a blazingly intense overture, carrying that elemental intensity through to the final scene. He is also aided by the BBC Chorus. The chorus, as in most of Wagner's other operas, has an essential part in the plot and music, particularly in Act 3. The BBC Chorus produces a wonderful sound but is also dramatic.Klemperer's cast is not flawless, but is almost certainly the best at that time, and the flaws are not very large. Theo Adam is the Dutchman. He has the vocal power necessary for the role, as well as the intelligence and insight. He has a resonant voice, but it grows a bit wobbly and gritty under pressure. Compare him to Hans Hotter at his peak (on a 1944 broadcast recording available on Gramofono 2000), and Adam's sizable achievement shrinks. Under the baton of Clemens Krauss, Hotter is at least as insightful as Adam, and also has a glorious, sumptuously warm, enormous voice that Adam simply does not have. But then again, no one else has a voice like that, either. Adam is on a much higher level than competence, and his performance here shows him to be the finest Dutchman of the last 35 years. His Senta is Anja Silja, whose performance is for the most part stunning. She is a simply astounding actress. There is no doubt that she IS Senta, bringing her to life in a wholly believable way (and for this slightly insane character, that's unbelievable!), and she also possesses a large, beacon-like voice. She does wobble a bit on sustained high notes, but this can be overlooked. I think she may be the greatest Senta on record. The rest of the cast is superb. The great Finnish bass Martti Talvela is a satisfyingly straightforward, gloriously sung Daland. His is one of those very rare voices you just want to drink. Ernst Kozub (Erik) has a dark, heroically ringing yet beautiful voice that reminds me a lot of James King. (Klemperer actually wanted King for the role, but King couldn't get out of a contract with another company.) Kozub sings ardently, but he has a choppy way with the vocal line and doesn't really characterize. It feels like nit-picking to be criticizing a singer with such a glorious voice, but on consideration, I don't really think he's a complete artist. (Kozub was originally cast in the title role of "Siegfried" on the superb Solti recording, but despite his excellent voice, he had to be abandoned for the veteran Wolfgang Windgassen. Kozub simply failed to learn the role, being too busy giving guest performances all over Europe. It's an interesting "might-have-been.") The excellent Gerhard Unger (Steuermann) and Annelies Burmeister (Mary) round out the cast.By the time this recording was made, EMI had adopted the methods of producing an opera for records pioneered by Decca's John Culshaw, and this production is well done. For instance, in Act 1, Daland's ship and, later, the Dutchman's ship have definite, separate positions; in Act 2, the sound of spinning wheels is unobtrusively and sensibly added to the opening chorus; and in Act 3, the two ships and their contrasting crews and moods are given suitably contrasting positions. The sound itself, however, is not nearly as satisfying. Despite the new remastering at Abbey Road for this release as a "Great Recording of the Century," the sound retains a disturbing amount of hiss and roughness. It is no worse, though, than for instance Karajan's Tristan und Isolde (with none of the excruciating balances that disfigure the latter), and whatever roughness the sound can't take away from the glories of the performance. I recommend this Klemperer version as the best all-around recording of Der Fliegende Holländer, with the 1944 Krauss/Hotter as a supplement. Happy listening!"

White Hot Wagner

daniel0302 | New York, NY United States | 09/19/2000

(5 out of 5 stars)

"Buy this recording and you won't be disappointed. EMI has re-released this in a series called "Great Recordings of the Century". Although it is debatable if some of the others in this series deserve such a lofty designation, this one truly, truly does. This is simply a searing, white hot performance. Klemperer is at his very best. Many of his tempi seem slow in comparison to other conductors, but Klemperer's tempi feel right, and, upon returning to the other recordings, the others feel a bit rushed. But despite the slower tempi, the performance is driven from its opening chords to its finale, constantly propelled forward as if - like the characters in the opera - compelled by fate. Klemperer achieves a wide spectrum of orchestral colors that are well captured by the microphones. This 1968 recording is sonically pleasing and wears its age well.The excellent cast members all inhabit their characters. Combined with Klemperer, the result is amazing. The drama of this opera leaps out of the speakers, an experience akin to hearing a great radio play; the act of simply listening to this recording is a theatrical experience. Anja Silja may be the greatest recorded Senta (other than Leonie Rysanek), and she is able to sound youthful while being every bit the dramatic soprano. Senta's ballad is riveting - her inflections leave no doubt as to the state of this girl's haunted soul and her impending fate. Theo Adam is full of dark mystery as the Dutchman and sounds fantastic. Ernst Kozub is a cocky and impulsive Erik, and the tension in his scenes with Silja is deliciously thick. Marti Talvela makes a wonderful Daland. Even though it preceeds digital technology, this is preferable to the more recent versions. This recording is the standard by which all others should be measured, and the others simply don't measure up."

Klemperer proves his ability as a Wagner conductor.

John Peters | Austin, TX | 12/24/2001

(5 out of 5 stars)

"When people think of great interpreters of Richard Wagner, the two most common names that are usually mentioned are Furtwangler and Solti. Otto Klemperer, however, is seldom mentioned in the same breath as those two and that is ashame. Not only is he in their class, but in some ways exceeds them. This recording of Holländer proves it. It has all of the characteristics of Klemperer: slow, methodical, and very powerful. In slowing the tempos down, the singers and orchestra produce a sound that is very full and developed. What is unique here is the sense of emotion one gets when listening to this performance. At first that might seem odd given the fact that Klemperer was not a conductor that went for emotion or color. The standout cast member is Anja Silja as Senta. When one hears her sing, one gets the absolute sense of destiny and pity that the character feels throughout the opera. She plays the role to perfection. Theo Adam gives a very fine performance as the Dutchman, the cursed sailor who made a foolish bet with the Devil. Like Silja, Adam portrays the emotions of his character very well: the sorrow, the frustration, and the helplessness. Needless to say, Silja and Adam perform beautifully together in Act II. Kozub and Talvela are very good additions to the cast and sing and act well. This recording is an excellent introduction to Wagner and seasoned veterans will enjoy it very much as well."