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Der Fliegende Hollander (Barenboim, Staatskapelle Berlin) [Box set]

Wagner Audio CD

Price: £16.83
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Disc: 1
1. Der fliegende Hollander - Ouverture - Staatskapelle Berlin
2. Hohohe! Halloho - Robert Holl
3. 'Mit Gewitter und Sturm aus fernem Meer' - Rolando Villazon
4. 'Die Frist ist um' - Chor Der Deutschen Staatsoper Berlin
5. 'He! Holla! Steuermann!' - Robert Holl
6. 'Durch Sturm und bosen Wind verschlagen' - Robert Holl
7. 'Wie? Hort'ich recht?' - Robert Holl
8. 'Sudwind! Sudwind!' - Robert Holl
9. 'Summ und brumm' - Felicity Palmer
10. 'Du boses Kind! Wenn du nicht spinnst' - Felicity Palmer
See all 11 tracks on this disc
Disc: 2
1. 'Ach! Wo weilt sie' - Felicity Palmer
2. 'Bleib, Senta! Bleib nur einen Augenblick!' - Peter Seiffert
3. 'Mein Kind, du siehst mich auf der Schwelle...' - Robert Holl
4. 'Mogst du, mein Kind, ' - Robert Holl
5. 'Wie aus der Ferne langst vergang' ner Zeiten! - Jane Eaglen
6. 'Verzeiht! Mein Volk halt draussen sich nicht mehr' - Robert Holl
7. 'Steuermann, lass die Wacht!' - Chor Der Deutschen Staatsoper Berlin
8. 'Johohohoe! Johohohoe! Hoe! Hoe!' - Chor Der Deutschen Staatsoper Berlin
9. 'Was muss ich horen' - Peter Seiffert
10. 'Willst jenes Tags du nicht dich mehr entsinnen' - Peter Seiffert
See all 11 tracks on this disc

Product Description

Amazon.co.uk

Daniel Barenboim's Wagner opera series for Teldec has been uneven, and so is this Der Fliegende Holländer. The big plus here is Struckmann's assumption of the title role. He sings with a rich, firm baritone and invests his part with emotion, This is a character whose feelings and thoughts are made evident from singing without indulging in overemphatic stresses and bumps that get in the way of the music. Peter Seiffert's ardent Erik is another role that works well. He has the right voice type and sings with feeling. Robert Holl's Daland, though, is under-characterised and lacks the low notes required by the role. There's little feeling in his singing of the greed that drives poor Senta's money-grubbing father.

Following her recent Tannhäuser in the Barenboim series, Jane Eaglen's Senta disappoints. Today's leading Isolde is off her form; high notes are thinned out and there's little bloom in the voice. The girl's innocence and obsessiveness just don't come through. Barenboim's leadership is suspect in the lurching between a Wagnerian equivalent of oom-pah music and quicker-tempo excitement. But since there really is no perfect choice for this opera (though the Otto Klemperer from 1968 has more virtues than most), many will find this version, flaws and all, worthy of consideration. --Dan Davis

Product Description

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Customer Reviews

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 2.6 out of 5 stars  7 reviews
21 of 27 people found the following review helpful
2.0 out of 5 stars Let down by the casting 20 Nov 2002
By A Customer - Published on Amazon.com
Format:Audio CD
This new release of Wagner's early success is sorely let down by some of the singers. Jane Eaglen is extremely disappointing as Senta. She sings with little or no imagination (fatal for the role of Senta). She is often unsteady and tentative in her high register while her lowest notes lack resonance. Struckmann is a smooth-sounding but too weakly characterised Dutchman. Holl lacks to strength of tone of Daland and Seiffert is just a mediocre Erik.
Barenboim and the orchestra, on the other hand, give a masterful performance. Indeed, I have nothing to complain about the orchestral playing as well as the interpretation, which are extremely fine. But it's so unfortunate that the recording company has failed to find more suitable singers to match such a fine achievement.
A great pity indeed.
4 of 4 people found the following review helpful
3.0 out of 5 stars Not the revised version! 16 Dec 2011
By Leonardo Rodrigues - Published on Amazon.com
Format:Audio CD
As I write this, none of the other reviewers did comment on the fact that this is a recording of the original version of Holländer. The so called "redemption motive" is missing in the end of the overture as well as in the very end of the opera. This is OK, since the original version is still the preferred one at Bayreuth. But this should have been made clear in the product description. I was expecting the revised version.
3 of 4 people found the following review helpful
2.0 out of 5 stars Better luck next time, Mr. Barenboim 18 Jan 2007
By Eric S. Kim - Published on Amazon.com
Format:Audio CD
Recently, I had a chance to hear Barenboim's "Fliegende Hollander". I was utterly disappointed. The orchestra & choir were good and the conducting was spot on, but the vocal cast is devastatingly flawed. Jane Eaglen sounds too heavy as Senta, and Felicity Palmer didn't sound too great as Mary, Senta's nurse. Falk Struckmann as the Dutchman tries very hard, but fails when he's supposed to be lyrical during his arias. I was, however, impressed by the singings of Holl and Sieffert.

In conclusion, I think you should avoid this rendition of Wagner's first successful opera. And avoid James Levine's rendition, too. Go for the Sinopoli, Solti, or Klemperer recordings.
5 of 7 people found the following review helpful
3.0 out of 5 stars A Disappointing Dutchman 14 Sep 2007
By Steven Muni - Published on Amazon.com
Format:Audio CD|Verified Purchase
Der Fliegende Hollander is one of my favorite operas. I bought this version having just heard (August, 2007) Jane Eaglen sing the role at the Seattle Opera. She was simply fantastic. I also liked her on Barenboim's Tannhauser recording, made just before this one. Unfortunately this recording doesn't work, for a number of reasons.
First of all is the conductor. Barenboim's tempi are generally on the slow side. While I personally prefer the more forceful versions of conductors like Keilberth and Haitink, the slower tempi work when there is still a sense of power and momentum, as in the versions by Klemperer and Furtwangler. But here there is no rythmic drive to this production--the tempi seem to vary arbitrarily for unexplained reasons and there are odd silences. While the silences in music can be just as effective as the sound, if overdone one tends to wonder if the stereo has suddenly gone off. Barenboim's dynamics also seem to vary for inexplicable reasons--perhaps to wake up the nodding listener. Periods of almost inaudibility will be followed by a blast of sound followed by another period of whisper-like quiet.
Then there are the soloists. Falk Struckmann isn't bad, just not remarkable. His is more the pensive and introspective Dutchman, rather than one of menace and power. You want to give him a cup of tea and tell him to buck up.
Jane Eaglen is simply not in good voice. Her top notes are thin and forced and the warm sumptuous tone that filled the Seattle opera hall and thrilled the audience last month is rarely in evidence. Her duet with her Seattle Dutchman (Greer Grimsley) had the audience on the edge of their seats. Her duet with Struckmann on this album is merely adequate.
And even luxury casting in the small roles doesn't help here. Dame Felicity Palmer, ordinarily a great mezzo-soprano, sounds like a second-rate stand-in. Robert Holl's Daland sounds detached and flat in affect, like he's simultaneously trying to figure out his income tax. Rolando Villazon is the Helmsman, and his singing is lovely in tone, but bizarre in interpretation. At moments he's practically crooning, and he takes such liberties with the tempo that you expect him to be leaning against a piano in a dimly lit cocktail bar. And there are more odd long pauses between phrases, as if he forgot the words. I can only assume he was doing this on the instructions of the conductor.
The best performance is by Peter Seiffert in the role of the hapless Erik. Seiffert sings with skill and drama, and conveys Erik's feelings of frustration and helplessness in the face of Senta's obsession with the Dutchman.
The chorus is fine although unremarkable. The sound is excellent.
Fans of the opera all have their particular favorite recording. Mine is the Klemperer, with Theo Adam and Anja Silja, followed a close second by the Keilberth, with Hermann Uhde and Astrid Varnay. Penguin's Opera Guide considers the Haitink, with George London and Leonie Rysanek as one of the finest recordings of any opera. There really are no BAD recordings, but unfortunately this one comes in near or at the bottom of the list.
6 of 9 people found the following review helpful
2.0 out of 5 stars Disappoints 5 Oct 2003
By A Customer - Published on Amazon.com
Format:Audio CD
After hearing Barenboim's marvelous recording of Tannhauser, I decided to get this Flying Dutchman. It is a great disappointment. I am no expert on opera and am not able to write with sufficient clarity on all the deficiencies, but one thing really stood out: Jane Eaglen's Senta. The quality of her voice really does not suit the youthful Senta. On the hight notes she sounds more like screeching rather than singing. I don't understand how someone who sounds just fine and even great on Tannhauser can sound so horrible here.
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