Customer Reviews

Der Fliegende Holländer

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I have heard and owned several versions of this opera: Fricsay (a most unappetizing version, and a shock for a Fricsay lover like me); Keilberth; Konwitschny (probably the best stereo version, with a remarkably potent performance from Fischer-Dieskau); Knappertsbusch (with the incomparable Varnay and Uhde the second-best Dutchman IMHO); and this version. To speak briefly about the supporting cast, Ursuleac is admittedly past her prime and full vocal steadiness, yet is capable of thrilling moments and projects a touching vulnerability in her Senta; Ostertag is a passionate, vehement Erik, certainly the equal of Windgassen and Schock; Klarwein likewise is a songful and lovable Steersman, very close to Wunderlich and for me slightly preferable to Traxel; Willer is a find Mary, very much like Sieglinde Wagner in the Konwitschny set; Hann, however, is the most spirited Daland I have ever heard, even edging out Frick (slightly). But what really puts this version in a class by itself is the Dutchman of Hans Hotter and the stormy yet unrushed conducting of Clemens Krauss. Hotter approaches this role with a combination of theatricality and Lieder-like sensitivity, and is caught at his vocal prime. Krauss and the Bayerische Staatsoper Orchester are likewise exciting and yet subtle and refined; compare this with Keilberth's courseness. The Preiser issue is remarkable in its sound; I suspect that this was taken from original tapes, unlike some of the earlier issues (the original Mercury LP's were dreadfully distorted). My only quibble is that the opera is performed in three separate acts, with Wagner's paddings to fill in the gaps from his original intention to perform all three acts continuously. But, despite this, I consider this the classic "Fliegende Hollaender".

I own five recordings of the Dutchman, and have heard at least three others. I can can unequivocaly say that this is the one I feel sets the standard for all others (my second choice being the George London, Leonie Rysanek version). The main reason for this is the unbelivable power and majesty of Hans Hotter's remarkable voice. I have heard all the great basses sing this role (including Morris, Uhde, Frick, Estes, London and Moll) and I still keep coming back to Hotter, he was the finest German bass of the last sixty years, perhaps only Friedrich Schorr was his equal. Hotters' understanding and commitment to the role has only been approached by James Morris, who unfortunately did not record the role in his prime. (Although I saw Morris sing the role a few days ago at the Met, and was deeply moved by his performance and was glad to see that he still possess one of the great voices in opera.) Hotters' deeply introspective version of the act 1 monologue has never been equaled, you hear and feel the anger and frustration towards his plight mixed with his longing for the release of death.

The other performers on this disc are equally good and very solid, Victoria Ursuleac is not the ideal choice for Senta, she's a bit to old sounding, but she sings the role admirably and sounds great during the ballad and the love duet. The only reason I would not reccomend this set as the only Duthman you need to own is that the supporting cast is not quite as strong, perhaps the best overall cast is either the London or Morris set (even though many feel that Levine's tempi on the Morris set is a bit slow, I disagree). Interestingly the sound quality of this 1944 recording is remarkably good, very clear, nicely mixed and almost no hiss or pops. All in all I highly reccomend this set, after you have heard the better known recordings do yourself a favor and get of copy of this one so that you can hear what the role of the Dutchman is supposed to sound like.

This review is motivated more to give an advice about the editions available for this record than to comment the quality of the performance itself. Regarding the latter, it is enough to say that Krauss' recording jointly with Kna Live Bayreuth 1955 (on Golden Melodram and Orfeo labels, both fine editons) form the not to be missed versions of this Wagner's romantic period opera. Add Dorati and Klemperer studio recordings in the 60's (Decca and EMI respectively) and you have the best to enjoy this work.

Krauss recording is a radio performance organized by Nazi authorities in order to encourage the resistence of troops and civil people against the enemy pressure during the last months of WWII. As such was recorded in 1944 and Clemens Krauss was commissioned to conduct the performance.

As far I know, in the current market only Documents Flying Dutchman (Complete)and Opera D'Oro Flying Dutchman labels maintain editions of this performance in their catalogs. But the sound quality of both of them are simply horrible -I had tried them before picking this Preiser edition, I guess because they are not issued from original tapes or licensed copies.

So that if you wish to discover why this performance is so highly praised you will have to order this Preiser edition, which has a natural sound with voices and orchestra in righ balance and no significant hiss. The CD box comes without libretto but with a flier containing pictures of Hans Hotter and Viorica Ursuleac and a track list. Believe me, you will not be wrong.

Except for a role, perhaps there is nothing better than this 1944 recording and the merit go first to the conductor, Clemens Krauss (1893-1954). The storm of the First Act will give you shivers and all the aspects of the work are brought by this brilliant conducting, rhythmic and tense, and at the same time tragic and dramatic. The date does not have to frighten you: the quality of the sound, its clarity, its definition are extraordinary for the period; the orchestral details, usually sacrificed by the former sound recordings, acquire a neatness which emphasizes the sharpness of the conducting. Naturally, there are differences between the publishers of this recording which is in the public domain. There is a download MP3 for some engravings, you can compare to choose, rely on your ears (I have Grammofono 2000).

Other asset of this record is Hans Hotter, still young in the time (35 years old) but already experimented, whose Dutchman was one of the biggest roles, especially for the first part of its career. Look if you want, you will notice that nobody exceeded him, for the voice and the characterization, the sense of the tragic. Daland of Georg Hann, a powerful and massive voice, is debated enough; he pulls the character towards the roles buffa whose specialist he was and the result can seem dated; but vocally, it is magnificent.

Other roles are excellently held. Except one: Viorica Ursuleac (who was Krauss's wife) fails to compose a real Senta and her ballad is a disappointing moment. It is not a question of expression but age: she was more than 50 years old and her voice is just aged. After the ballad, that improves a little, you may believe that its voice needed to be warmed.
Caution : my English is my English...