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Wagner: Der Fliegende Hollander (Flying Dutchman) / Knappertsbusch, Uhde, Varnay, Windgassen, et al

4.9 out of 5 stars 7 customer reviews

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Audio CD, April 20, 1999
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Track Listings

Disc: 1

  1. Erster Aufzug: Vorspiel - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
  2. Erster Aufzug: Hojohe! Hallojo!... - Chor Der Bayreuther Festspiele/Wilhelm Pitz/Ludwig Weber
  3. Erster Aufzug: Mit Gewitter Und Sturm Aus Fernem Meer - Josef Traxel
  4. Erster Aufzug: Die Frist Ist Um,... - Hermann Uhde
  5. Erster Aufzug: He! Holla! Steuermann! - Ludwig Weber/Hermann Uhde
  6. Erster Aufzug: Weit Komm Ich Her - Hermann Uhde
  7. Erster Aufzug: Halloho! Hohohe! - Chor Der Bayreuther Festspiele/Wilhelm Pitz
  8. Zweiter Aufzug: Intro - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
  9. Zweiter Aufzug: Summ' Und Brumm', Du Gutes Radchen... - Chor Der Bayreuther Festspiele/Wilhelm Pitz
  10. Zweiter Aufzug: Jo Ho Hoe! Traft Ihr Das Schiff In Meere An... - Astrid Varnay/Chor Der Bayreuther Festspiele/Wilhelm Pitz/Elisabeth Schartel/Wolfgang Windgassen

Disc: 2

  1. Zweiter Aufzug: Vor Anker Alle Sieben Jahr Ein Weib Zu Frei'n - Astrid Varnay
  2. Zweiter Aufzug: Bleib', Senta! Bleib' Nur Einen Augenblick! - Wolfgang Schartel/Astrid Varnay
  3. Zweiter Aufzug: Mein Kind, Du Siehst Mich Auf Der Schwelle - Ludwig Weber
  4. Zweiter Aufzug: Mogst Du, Mein Kind, Den Fremden Mann Willkommen Heissen! - Ludwig Weber
  5. Zweiter Aufzug: Wie Aus Der Ferne Langst Vergang' Ner Zeiten - Hermann Uhde/Astrid Varnay
  6. Zweiter Aufzug: Verzeiht! Mein Volk Halt Draussen Sich Nicht Mehr;... - Ludwig Weber/Hermann Uhde/Astrid Varnay
  7. Dritter Aufzug: Intro - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
  8. Dritter Aufzug: Steuermann, Lass' Die Wacht! - Chor Der Bayreuther Festspiele/Wilhelm Pitz/Josef Traxel
  9. Dritter Aufzug: Was Musst Ich Horen! - Wolfgang Windgassen/Astrid Varnay
  10. Dritter Aufzug: Willst Jenes Tag's Du Nicht Dich Mehr Entsinnen - Wolfgang Windgassen
  11. Dritter Aufzug: Verloren! Ach Verloren! Ewig Verlor'nes Heil - Hermann Uhde


Product Details

  • Audio CD (April 20, 1999)
  • Number of Discs: 2
  • Label: Melodram
  • ASIN: B00000IMIN
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #80,654 in Music (See Top 100 in Music)

Customer Reviews

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Top Customer Reviews

By Webster Forrest on February 8, 2002
I bought this recording for Astrid Varnay's Senta and the conducting of Hans Knappertsbusch. Both lived up to my expectations. I don't know of another recording of the Dutchman conducted by Knappertsbusch, and the only other readily-available source of Varnay in this role is an issue on Teldec from the same season at Bayreuth, with similar same cast and under Josef Keilberth. Given the choice, I'd take the present recording, though it is not without its faults.
Knappertsbusch's conducting is very different from most Wagner interpreters we hear on record. During his lifetime he was sometimes considered a genius and sometimes an old-fashioned bore. Generally he takes much slower tempi than other conductors, and quite often his performances are a bit messy. In this case, he brings new and ingenious insights to the drama through his broad tempi and insightful mastery of the score. For those not used to his conducting but familiar with the opera, this recording may sound all wrong. It may seem far too slow sometimes - especially in comparison to other versions - but in my opinion what he does is wonderful. For those familiar with and appreciative of Knappertsbusch, this recording will certainly raise a smile of respect and pleasure at the greatness of his approach. It's definitely worth listening to just to see aspects of the music which are usually hidden.
Astrid Varnay was one of the great Wagner sopranos of the past century. Her prominence at Bayreuth from its first opening after the war is noteworthy: for a decade she was the star soprano of that festival, and her recordings of Brunnhilde from that period are cherished by record collectors. Her approach to the role of Senta is characteristically insightful, and she gives some of the most beautiful singing I've ever heard in this role.
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This is one of those fantasy recordings with perfect casting. Every singer in the cast was absolutely in his/her prime vocally (with the exception of Ludwig Weber who was in his longevity years. But they were good years for him, and what better time to sing Daland? Windgassen was in really "in the role" with a connected, full-sailed, heroic sound.) Every singer in the cast was fully comfortable with his/her role but still emotionally invested in it--Josef Traxel and Elizabeth Schartel, no less than Astrid Varnay and Hermann Uhde, let themselves go without losing control.
This is the best performance by Hermann Uhde in any role I've ever heard, although his Rheingold Wotan (Keilberth, 1952) and Telramund are almost as good. Unlike George London, who tends to overawe and unlike Fischer-Dieskau, who tends to whine, Hermann Uhde manages to be forceful without losing sympathy for his suffering. I wish someone would release one of his performances of Amfortas.
Astrid Varnay audibly had to hold back her white-hot vocal steel to keep poor fragile Senta from overwhelming everyone. She could have done anything that night.
Knappertsbusch conducted thoughtfully, with respect for the drama. Some of the choral numbers seemed slow but most of the time he remembered that it's not PARSIFAL and kept it moving. Strong, mutually-resonsive ensemble singing by the soloists makes this a standard-setting performance for me.
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This, to me, is probably one of the best Holländer on record...it was recorded on the opening night of this prodution in Bayreuth, and the electricity can be felt even in decent mono sound 45 years later. Hermann Uhde even with pitch problems, is the most hauntingly unforgetable Dutchman since Hotter. Ludwig Weber sings with his usual superior musicianship, and Windgassen shines - it's refreshing to hear just how beautifully he could sing apart from The Ring and Tristan. Varnay scaled down her voice for this performance, but her final scene at the operas finale when she cuts loose from the back of the stage is absolutely hair-raising...I get goosebumbs just thinking about it! A great cast under the great Knappertbusch who leads with his typical broad but well paced conducting...anyone's reaction will be the same as the enthusiastic audience that was present that glorious evening, responding with a thunderous ovation.
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It would be hard to find any perfect recording of a Wagner opera, but this is pretty damn close to it.
this was the premiere of the 1955 bayreuth festival, the first performance of "dutchman" at postwar bayreuth. No wonder the performance is electrifying.
Knappertsbusch was a notoriously lazy conductor, but there's nothing lackadasical about his conducting here. He gets it right from the very beginning: one can almost see the sails of the dutchman's ship going up with the ascending bass line in the beginning of the overture..absolutely thrilling in this performance.
Knappertsbusch's overall "big-boned" approach to this opera makes dutchman seem just as important and mature a work that wagner ever wrote, kna treats it as if it were as refined and as great a work as meistersinger or tristan. Fabulous.
First voices we hear are of the incomparable bayreuth chorus. They need no introduction, though some balances between choruses in the long third act choral scene aren't the greatest and sometimes the voices get lost, but it is certainly great choral singing.
Ludwig Weber was getting to be an old man, but he's still the best Daland I've ever heard. Never has there been a greater voice in this role. Hermann Uhde's dutchman and Astrid varnay's Senta are just as incredible, Uhde haunting and Varnay poised on lifting the dutchman's curse.
I haven't heard Schorr in "die frist is um," but Uhde is quite amazing here, truly sounding like someone who hadn't been on land for seven years: out of touch, wretched, and definitely rough-edged.
The smaller roles of Mary and the Steersman are taken by elisabeth schärtel and josef traxel, respectively and are sung very well.
Last, but not least, is Wolfgang windgassen as the tormented Erik.
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