I do hope it’s not a regie style production…….this opera needs the Pirates of the Caribbean treatment, not a few metal ramps and two plywood boxes to represent the ships.
Excellent cast and recording but in truth George London owned the role of the Dutchman at this time (and ever since) and Leonie Rysanek was the dominant Senta.
This was my introduction to Wagnerian opera, followed by several others, beginning with the Ring cycle, appx 25 years ago... I have two different recordings of my own of Hollander, but I believe this might be the best one I've ever heard!!
It is an excellent recording. I was unsure as to how well Fischer-Dieskau would do as I would not have associated him with this role, but he is splendid as indeed are the rest of the company. The finale was especially thrilling. I think perhaps most of us start with The Flying Dutchman as it is not terrifyingly long.
Excellent recording, Fischer-Dieskau is outstanding in Die Frist ist um, his skills are extraordinary, same goes for Wunderlich and this Erik - Rudolph Schock, as others named him, a discovery for me. The voices compliment each other and blend well - Fischer-Dieskau and Frick in their duet sound beautiful. Although it might not be as revolutionary in music as Tristan, dramatically it is a stronger opera, it is so well-built and arias only embellish it. It is an absolute masterpiece, captivating from the beginning to the end. The libretto based on Heine is far superior to his own texts, convoluted, endless, unclear. One really wonders how his creative output would develop if he were not forced to live his life in exile... Rienzi and this are frankly absolute marvels, young genius bursting with glorious music - and drama.
Is a man of music. The story in this Opera is not the greatest, but the score is mere perfection... At least the overture is. I feel like Wagner could not think of much else besides the overture score, so he recycled it more than he should of. This is also similar to Bizet's "Carmen." (Carmen is my favorite opera of all time.) Same Notes but different here and there. Unfortunately, if i were a harsh critic, this would be garbage past the first 10 minutes. But overall i do like it as opera/ classical gives me joy 😊
Wunderschöne und spannende Interpretation dieser großartigen Musikdrama mit gut harmonisierten und perfekt synchronisierten Tönen aller Instrumente sowie herrlichen Stimmen aller unvergleichlichen Solisten und perfekt vereinigten Stimmen des ausgezeichneten Chors. Der geniale Maestro dirigiert das ausgezeichnete Orchester im majestätischen Tempo und mit dramatischer Dynamik. Bestimmt eine der zehn besten Aufführungen dieses Meisterwerks im 20. Jahrhundert!
Ist ein Mann der Musik. Die Geschichte in dieser Oper ist nicht die größte, aber die Partitur ist pure Perfektion ... Zumindest die Ouvertüre ist es. Ich habe das Gefühl, dass Wagner außer der Ouvertürenpartitur nicht viel anderes einfallen konnte, also hat er sie mehr recycelt, als er sollte. Das ähnelt auch Bizets „Carmen“. (Carmen ist meine Lieblingsoper aller Zeiten.) Gleiche Noten, aber hier und da anders. Wenn ich ein scharfer Kritiker wäre, wäre dies leider nach den ersten 10 Minuten Müll. Aber insgesamt mag ich es, da Oper/Klassik mir Freude bereitet Entschuldigung, wenn dies ein falsches Deutsch ist, ich habe Google Translate verwendet
I imagine in 1943 and with the war raging all around Germany, this opera was again held in Dresden to mark its 100th anniversary. A blissful few hours to let fancies take flight during those dark days, never knowing the even darker fate that awaited the city just two years later...
If only fascists had not taken power in Germany and murdered millions of people, it wouldn't have been necessary to destroy Dresden. If only Wagner had not contributed to the rise of anti-Semitism, his music might never have been used to bring about the situation you are lamenting. A tragedy, indeed, and a reminder to each of us to devote our talents to fighting against all forms of oppression and bigotry.
@@rtdropbox Wagner didn't contribute to the rise of anti-Semitism. You probably refer to his essay "Judaism In Music" but you didn't read beyond the title.
Listen, I’ve read the whole essay, and I know about the way it was published, and Wagner’s open efforts to foment anti-semitism. Have you? Great music, terrible bigotry.
The sound quality is a-ma-zing!! 😮 Finding a recording that actually has some metal to it is so hard but here’s a fine example, and who would have expected to have to go back so many years to find it?
Gerald mignon . Is not all noise music , like is not chaotic sum of words poetry. Look Johanes Kepler "harmony of the world" discovery , which spark the Bach revolution. Wagner is antimusic.
Ich haben immer gedacht es wäre etwas ganz normales das ich der einzige in meiner Schule bin der Wagner mag und desto mehr ich Wagner höre kommt es mir immer unverständlicher vor das ich der einzige dort bin der dies hier mag. Ich meine wie kann man diese Musik nicht mit größtem Herzen lieben?
Esattamente.... Io amo questa opera con tutta me stessa!!!!!! Una musica sublime..... Tra pochi giorni la eseguiro in Italia con i colleghi del coro.... Grande WAGNER ❤️(Gennaio 2023)
Fischer-Dieskau no interpreta en absoluto. Su holandés carece de sentimientos, no hay dolor, ni tragedia, ni ansias, ni anhelos, ni esperanza, ni desesperación... es el vacío. Eso sí, el monólogo es una excelente lección de cómo pronunciar el alemán, mejor que muchas clases.
I’m currently working my way through The Met’s Ring Cycle from 1990 on DVD and I’m in love with it. And I think I want to go see this when it gets broadcast to my local movie theater in a few months.
Die Refernzaufnahme! Franz "Kornwhisky", das verschmähte Genie....... tragisch. Er leitete zuzeiten die Sächsische Staatskapelle/Oper, Gewandhaus und die Berliner Staatsoper zeitgleich. Dirigierte alles auswendig.
@@ThomasWangenheim One of the best, certainly. I prefer Wolfgang Windgassen, and there's a great one from earlier named Torsten Ralf. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fOxp2f-HhMI.html
Holländer - Dietrich Fischer-Dieskau Senta - Marianne Schech Daland - Gottlob Frick Erik - Rudolf Schock Mary - Sieglinde Wagner Steuermann - Fritz Wunderlich Orchestra & Chorus - Berliner Staatsoper Conductor - Franz Konwitschny
De'Hondenwacht'van de Stuurman, Michiel Adriaanszoon de Ruyter. Born Vlissingen, Republiek Der Zeven Proviciën..? 16 century annno. Domincus I presume..?
Nowadays she'd be treasured but in her time there were so many great Strauss Wagner Sopranos - Rysanek, Varnay, Nilsson etc. who also may have had greater stage presence/charisma.
I think Schech is underrated too! If you haven’t already listened, there is a recording of D’Albert’s “Tiefland” here on RU-vid where she sings the female lead and is magnificent!
Sicherlich tolle Stimmen, leider fehlt aber das Tempo, so macht die Oper keinen Spaß. Wer mal eine andere Version hören will, dem empfehle ich die beiden Mitschnitte aus Bayreuth aus 2021 und 2022. Das ist ein Unterschied wie Tag und Nacht - leider.
too fast - Erik's Cavatina leaves Wunderlich too little time to be 'Italianate' .. Wagner did love Bellini. The 'Redemption through love' refrain at the end is lackadaisical ... believe in Romanticism, believe in the spirit of E. T. A. Hoffmann!!!!
