Der Fliegende Holländer

Hans Hotter (Performer), Georg Hann (Performer), Richard Wagner (Composer), Clemens Krauss (Conductor), München Bayerischen Staatsopernchor und orchester (Orchestra), Viorica Ursuleac (Performer), Franz Klarwein (Performer), Karl Ostertag (Performer)

Product Details

• Performer: Hans Hotter, Georg Hann, Viorica Ursuleac, Franz Klarwein, Karl Ostertag
• Orchestra: München Bayerischen Staatsopernchor und orchester
• Conductor: Clemens Krauss
• Composer: Richard Wagner
• Audio CD (August 22, 1995)
• SPARS Code: AAD
• Number of Discs: 2
• Label: Preiser Records
• ASIN: B0000023RX
• Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)
• Amazon.com Sales Rank: #64,559 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

9 of 10 people found the following review helpful:

5.0 out of 5 stars Still the Best Dutchman, April 4, 2003

By	Ralph J. Steinberg "Lover of German Music" (New York, NY United States) - See all my reviews (REAL NAME)

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".

8 of 9 people found the following review helpful:

5.0 out of 5 stars My Favorite Dutchman, December 13, 2000

By	"aleibo31" (Dobbs Ferry, NY USA) - See all my reviews

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.