Wagner: Der fliegende HollA¤nder

Recorded evidence preserves a regretfully skewed view of Otto Klemperer's Wagner. Happily, this 1968 recording of Der fliegende Holländer captures the aged Otto Klemperer at his inspired and disciplined best. The vivid detail and expressive intensity of the orchestra playing begs description, and Suvi Raj Grubb's resplendent production sounds as fresh as today's best digital engineering, especially in EMI's 20-bit remastering. Anja Silja's Senta is arguably her most absorbing major Wagnerian portrayal on disc, in terms of both singing and acting. Likewise, Theo Adam, in excellent form, inflects the title role with unusual care for words. Ernst Kozub is as brash and brazen an Erik as they come (which is good!), and Martti Talvela's weighty yet flexible Daland hardly has been bettered, past or present. Yet the individual contributions yield to the remarkable sense of ensemble give and take--not just between the singers themselves, but in the way the orchestra leads, supports, and comments upon the sung text. Full texts and translations plus excellent annotations clinch this set's essential status as both the basic Flying Dutchman on disc and Otto Klemperer's finest recording of an opera. --Jed Distler Amazon.com essential recording

Wagner as George Lucas...

George Lucas went back into Star Wars to "re-do" certain things he wasn't happy about and ruined it. Steven Spielberg did the same, if not worse, to E.T. And Wilhelm Richard Wagner did that to his Dutchman.

That is why I adore this recording. It wasn't until I heard this Dutchman that I finally understood what it was all about. This is the original Dresden version and the Weber-like ending is more powerful than the Tristan-esque sunrise Wagner tacked on later. I much prefer a blazing red finale, which is in keeping with Vanderdecken's final judgment (dragging Senta up with him) than the cotton candy of the re-write.

The singers are all wonderful, despite what critics (there will always be those) say. I'll take drama over a pretty voice anyday because that is, after all, what theatre is about. And Klemperer may be too slow for some but to me the weight of the music feels like the water and wind and sorrowful longing that this music drama is about. When you hear this recording, you are astounded by the originality of Wagner. October 25, 2007

A "Dutchman" without a Dutchman--serious problem

EMI brought out two Flying Dutchman recordings that went to the top of the list, this one under Klemperer and a later one under Karajan. Both had excellent sound, orchestral playing, and ocnducting, along with outstanding choruses (Klemperer, however, had the edge here with the masterful Wilhelm Pitz as his choral director).

Unfortunately, both sets had a serious flaw, and as it happened they were opposites. Karajan's Senta is the harsh-voiced, rather fierce Slavic soprano Dunja Vejkovic, Klemperer's Dutchman is the faceless, dry-voiced workman Theo Adam. Over the years neither defect has improved, so either you listen to these classic sets and skirt around the flaws--hard to do, given how much music Senta and the Dutchman sing together--or you go elsewhere. Personally, I went to the recent Sinopoli on DG and a live performance under Sawallisch on super-budget Opera d'Oro September 28, 2005

A Stunning "Dutchman"

Written in 1840, Der Fliegende Hollander was Wagner's second opera, (and after the 6-hour Rienzi, his shortest opera), and it is often considered his most "Italiante" in feel and lyrical quality. It's also extremely Romantic in style--you can feel the wind on your face and taste the salt spray.
It makes for an excellent introduction to Wagner's operas, and while there really are no bad recordings of this opera, this recording is one of the best. The great conductor Otto Klemperer was 82 when he made this recording, and although he made a couple of more recordings, this is generally considered his last great recording. His tempi are slow, but intense and purposeful and the opera never drags.
His cast is also excellent. Theo Adams makes a powerful, poignant Dutchman, with an edge to his voice that I found very moving. Many critics consider Anja Silja's performance of Senta to be the definitive interpretation, and while Leonie Rysanek or Astrid Varnay are also in the top flight, Silja is a superb singing actress who clearly convey's Senta's almost frightening intensity. Martti Talvela has got to have one of the richest bass voices of the 20th century, Ernst Kozub is ardent and in-your-face as Eric, and Gerhard Unger brings wonderful musicality to the role of the Steersman. Mention should be made of the chorus, which sings its large role with tremendous excitement. This recording is an excellent addition to any opera collection. June 13, 2005

A minority view

I'm afraid I just don't get the enthusiasm others have for this recording. My principal problem is with Klemperer's speed, or rather the lack thereof. He's the only conductor I know who can make *everything* sound as long as Parsifal (even when the actual minutes aren't that different from other recordings). Here the Dutchman can barely sail, much less fly. I don't remember my dates well enough to know if this recording was made before or after Karajan did his best to ruin Silja's voice, but the top notes are pretty harsh here, though some of the role is nicely done. There are other recordings of this opera that have much to offer; check out the Konwitschny on Koch/Berlin with Fischer-Dieskau and Wunderlich, or the RCA with Dorati. September 27, 2004

Best Flying Dutchman

This is the best Flying Dutchman ever!! The fantastically intense Otto Klemperer brings his famed intensity to this masterpiece. Klemperer was performing the Flying Dutchman at Convent Garden at about the same time this recording was made. The stage experience and intensity of the 'live' performances has obviously carried over into this recording. This is the top recommended version by Gramophone, and it is indeed worthy of the Great Recording of the Century series. The Philharmonia plays superbly intense. Wind, sea and storm all come across vividly. Anja Silja is the personification of Senta's obsession with the Dutchman. From her entry, you KNOW what is the conclusion of the story - that she is so obsessed about the Dutchman that she will finally jump over the cliff for him. That last high B is fantastic!! Ernst Kozub as Erik is interesting for 2 reasons. One is that he really makes a great Heldentenor in the freakishly difficult role of Erik. The second reason is that he was the original Siegfried for Solti's Ring. So this recordings is valuable in preserving a 'what-might-have-been' for us to hear. Marti Talvela as usual is never less than fantastic - I need say no further. Theo Adam is the Dutchman to the core!!

Very highly recommended!! Don't pass by the chance to hear Klemperer's last great recording!! January 29, 2004

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