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Der Fliegende Hollander - (The Flying Dutchman) Wagner [DVD] [1985] [NTSC]
 
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Der Fliegende Hollander - (The Flying Dutchman) Wagner [DVD] [1985] [NTSC]

DVD ~ Lisbeth Balslev
4.0 out of 5 stars See all reviews (4 customer reviews)
RRP: £19.99
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Frequently Bought Together

Customers buy this item with Die Meistersinger Von Nurnberg - Wagner [DVD] [2001] [NTSC] DVD ~ Metropolitan Opera Orchestra

Der Fliegende Hollander - (The Flying Dutchman) Wagner [DVD] [1985] [NTSC] + Die Meistersinger Von Nurnberg - Wagner [DVD] [2001] [NTSC]
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Der Fliegende Hollander - (The Flying Dutchman) Wagner [DVD] [1985] [NTSC]
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Product details

  • Actors: Lisbeth Balslev, Graham Clark, Simon Estes, Matti Salminen, Anny Schlemm
  • Directors: Brian Large
  • Writers: Richard Wagner
  • Format: NTSC
  • Language German, English, French, Mandarin Chinese
  • Subtitles: English, Spanish, German, French
  • Region: All Regions
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Classification: Exempt
  • Studio: Deutsche Grammophon
  • DVD Release Date: 9 May 2005
  • Run Time: 136 minutes
  • Average Customer Review: 4.0 out of 5 stars See all reviews (4 customer reviews)
  • ASIN: B0007Q6PBU
  • Amazon.co.uk Sales Rank: 42,149 in DVD (See Bestsellers in DVD)

    Popular in these categories:

    #28 in  DVD > Musicals & Classical > Opera > Composers > Wagner
    #64 in  Music > Opera & Vocal > Opera > By Composer > Operas-Complete > Wagner

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Reviews

Synopsis
A performance of Wagner's opera performed by the Bayreuth Festival Orchestra.

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Customer Reviews

4 Reviews
5 star:
 (2)
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Average Customer Review
4.0 out of 5 stars (4 customer reviews)
 
 
 
 
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43 of 47 people found the following review helpful:
5.0 out of 5 stars Unmissable, 9 Aug 2005
By A Customer
This recording gives us the famous (and, at the time, controversial) 1980s production of the 'Dutchman' from Bayreuth by Harry Kupfer, and it is unmissable.

The overture begins, and in the spinning-room in Daland's house, a picture falls from the wall. From that moment until the genuinely shocking ending, Daland's daughter Senta is thrown into a living nightmare. She is being suffocated by the oppressive atmosphere of village life, but as the opera progresses her dreams of escape turn into dreams of death as reality closes in around her. In this 'Dutchman', there is no redemption.

Some have remarked on Kupfer's introduction of Ibsenesque themes into the opera. For myself - with barely a passing acquaintance with Ibsen's tragedies - the atmosphere of this production lies somewhere between the small-town claustrophobia of 'Peter Grimes' and the psychological horror of Henry James's novella 'The Turn of the Screw'.

Kupfer's concept permeates every element of the production. The opera is played, as Wagner at one time intended, with no break between the acts. Woldemar Nelsson conducts the Bayreuth orchestra at a hectic pace, wringing every ounce of nervous tension from the music. The singing and acting are exceptionally good. Daland, played by Matti Salminen, is an ambivalent figure, on the one hand representing everything Senta wishes to escape from, and on the other providing her imagined means of escape when he welcomes the Dutchman ashore. Mary (Anny Schlemm) presides over the spinning-room with an intense, raven-like presence. Robert Schunk gives to the character of Erik - surely one of the most two-dimensional tenor roles in the repertoire - real depth and interest.

Most impressive of all are Simon Estes as the Dutchman and Lisbeth Balslev as Senta. Here, the Dutchman seems to exist only in the context of Senta's fantasies of escape, but within this context Estes portrays the character as someone to be both pitied and dreaded. Senta herself is never offstage - much of the action, after all, is happening only in her mind - and from beginning to end, Balslev makes her a powerful and magnetic character, beautifully acted and subtly sung.

All of these tremendous performances are enhanced by excellent sound, picture quality, and camerawork.

But finally, is it Wagner? When this production was first staged, many complained that it failed to address elements of Wagner's music and libretto. In reply to that, I would now say that Kupfer has selected the most purely dramatic and tragic elements, and developed them to an astonishing level and depth of expression. He has taken Wagner's most naïve 'mature' opera - part romantic melodrama, part ghost story - and turned it into a tragedy that sets the mind reeling. Whether it's Wagner or Kupfer that is the end result, this is a production that every opera fan should see.

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11 of 12 people found the following review helpful:
3.0 out of 5 stars Psychologically Unloyal, 12 Dec 2007
By J. Masera (London) - See all my reviews
(REAL NAME)   
Despite my title, this is not an overtly negative review. Kupfer's adaptation is very effective, and brings to the fore the psychological tension that does not become evident in Wagner until his later operas. For those familiar with Freudian theories, this is certainly an unmissable take on the Dutchman myth.

Acting (particularly that of Senta), scenery, and music, are all superb.


However, if you are expecting a loyal representation of what's written in the score, you will be sorely dissapointed. Indeed, if you have never seen the production before, you may even be mislead with regards to Wagner's intentions. For example, absent from this version is the gloriously triumphant ending, in which the Dutchman and Senta are united through her self-sacrifice. This ignores Wagner's connection between love (or compassion)and redemption, which exists as a key theme throughout his operatic works.

Furthermore, for Wagner, the Dutchman was always a very real person (although within a myth) around whom the opera revolved. Kupfer has thus re-directed the more objective nature of the opera into the realm of metaphysics - a transition that we do not see maifest until Wagner's "Schopenhauerian" days.

Most importantly, Kupfer has ignored the importance of "Senta's Ballad". The music quite clearly indicates this as the moment that Senta realises it's her destiny to save the Dutchman i.e she has never considered it before (unlike in Kupfer, where Senta is present on stage until this point. Therefore she's aware of the previous meeting between the Dutchman and her father, in which it is agreed that she will be his wife). The production misses the narrative switch between 1st and 3rd person, and the interruption of the stophic song by Senta's first instance of passionate inclination.

On a more banal note, the opening dramatic sequence accompanying the overture is frankly bizarre, and diverts the attention away from the music. Obviously this is not ideal, since operatic overtures are intended to prepare the audience for what is to come (both in the musical and dramatic spheres) through the music itself. Instead, Kupfer has subverted this function to the stage, which serves to set up the disturbed-psyche of Senta.

Bearing in mind the length of the overture, the amount of "silent-acting" becomes awkward, which is a shame because the acting quality in the rest of the opera is excellent. I attempted to overcome this problem by closing my eyes during the overture, but then I didn't know what Senta was doing on top of a ridiculously rickety (perhaps it represents the fragility of Senta's mental state!) metal frame, and so was forced to watch it again. It therefore took me a while to get into the rest of the opera, as I was initially so disillusioned. However, it is an ingenious concept, and does the job for Kupfer.


Not one for hardened Wagnerites, but it's nice to see the validity of fresh interpretations.
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10 of 11 people found the following review helpful:
3.0 out of 5 stars Great singing, but confusing production, 14 May 2007
By maximus "Max" (manchester, uk) - See all my reviews
  
I find the Kupfer "re-imagining" of the plot rather confusing. I had never seen the opera before and this was a poor introduction in terms of getting the story. Having said that, the singing and orchestral playing is excellent and musically I found this highly enjoyable. The actual stage effects and scene changes are also very impressive.
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Most Recent Customer Reviews

5.0 out of 5 stars GREAT
There has never been a more powerfull Dutchman,then Simon Estes.Listening to him on this DVD gives me goosebumps,every time I hear it.I have the recording on vhs also. Read more
Published 1 month ago by Frank W. Robinson

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