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Wagner: Der Fliegende Hollander / Dietsch: Le Vaisseau Fantome (Les Musiciens du Louvre Grenoble / Marc Minkowski) Box set

4.6 out of 5 stars 5 customer reviews

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Product details

  • Performer: Sally Matthews, Ingela Brimberg, Bernard Richter, Eric Cutler, Russell Braun, et al.
  • Orchestra: Les Musiciens du Louvre Grenoble
  • Conductor: Marc Minkowski
  • Composer: Richard Wagner, Louis Dietsch
  • Audio CD (28 Oct. 2013)
  • Number of Discs: 4
  • Format: Box set
  • Label: Naive
  • ASIN: B00DUXR8V8
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 200,939 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Overture
  2. Hojohe! Hallojo! Hojohe! Ho!
  3. Die Frist Ist Um
  4. He! Holla! Steuermann!
  5. Summ' Und Brumm', Du Gutes Rädchen

Disc: 2

  1. Johohoe!
  2. Bleib', Senta!
  3. Mein Kind, Du Siehst Mich Auf Der Schwelle
  4. Wie Aus Der Ferne Längst Vergang'ner Zeiten
  5. Verzeiht! Mein Volk Hält Draussen Sich Nicht Mehr
  6. Steuermann, Lass' Die Wacht!
  7. Was Musst Ich Horen

Disc: 3

  1. Ouverture
  2. Sur Cette Terre,aux Limites Du Monde - Vous Ne Savez Pas Tout!
  3. Pourquoi, Magnus, Seul Avec Moi
  4. Il Fait Nuit
  5. Votre Père, Minna!
  6. La Plus Belle De Nos Filles
  7. Ces Doux Talismans Que J'aime
  8. Buvez Avec Nous, Camarades! - Silence!
  9. Quel Que Soitle Courroux De Mon Père - Par Les Vents Promenées
  10. Ensemble, Ils S'aiment!

Disc: 4

  1. Entracte
  2. De La Grandeur Divine - Dans Ce Port, À L'abrides Tempêtes Humaines
  3. Ici, Seule Avant L'heure, Je Vais Prier
  4. Désormais Plus De Plainte - Minna,du Nom D'épouse
  5. Quel Secret En Ce Jour
  6. Minna, De Cet Époux Donné Par Votre Père

Product Description

Product Description

When he arrived in Paris on 17 September 1839, the young Richard Wagner aspired to one single consecration: to have his music performed on the stage of the Opéra, for the French capital was, for an operatic composer, the sole temple of posterity. Inspired by reading a novella by Heine he began composing 'Der fliegende Holländer'. Unfortunately, Léon Pillet, the director of the Opéra who took up his post during the summer of 1840, shattered Wagner s hopes at a stroke. Anxious to comply with his brief in all respects, Pillet may perhaps at one time have considered commissioning from the young German one of those single acts whose composition could be confided to a foreigner. But he quickly went back on this and proposed merely to buy from Wagner his idea , which he found appealing. To meet an urgent need for funds, Wagner sold the subject of the work to the new management for 500 francs. More precisely, he submitted a synopsis in broken French summarising an operatic adaptation of the story of the Flying Dutchman. Entrusted to Paul Foucher and Bénédict-Henri Révoil in the summer of 1841, Wagner s synopsis soon assumed the form of a French libretto, enriched with new influences: Walter Scott s 'The Pirate', the writings of James Fenimore Cooper, and especially 'The Phantom Ship' by Frederick Marryat (translated into French in 1839 under the title of 'Le Vaisseau fantôme'). Once it had been set to verse by Foucher, it was handed over to the composer Pierre-Louis Dietsch, Léon Pillet's friend and protegée, newly-appointed chorusmaster at the Opéra. Wagner s missed opportunity with the Paris operatic stage (the first in a long series) therefore gave rise to two distinct works: Dietsch s 'Le Vaisseau fantôme', performed for the first time at the Paris Opéra on 9 November 1842, and Wagner s 'Der fliegende Holländer', premiered in Dresden on 2 January 1843. Founded in 1982 by Marc Minkowski, Les Musiciens du Louvre Grenoble breathes new life into the Baroque, Classical and Romantic repertoires, performed on period instruments. Recent operatic successes include a Mozart gala for the orchestra s 30th anniversary and Offenbach s 'Les Contes d Hoffmann' (Salle Pleyel); Wagner s 'Der fliegende Höllander' (Opéra de Versailles, MC2 Grenoble, Theater an der Wien, Palau de la Música in Barcelona); and Mozart s 'Lucio Silla' at the Salzburg Mozartwoche and Festival, and at the Musikfest Bremen where it has appeared regularly since 1995. The orchestra s recordings for naïve include the complete London Symphonies of Haydn in 2010 and the Schubert symphonies in 2012, bestsellers on the label.

Review

5* '…an excellent performance, sweeping, vital and atmospheric' --BBC Music Magazine

Disc of the Month '…revelatory'...'swift and exciting'...'[A] splendid new recording…' --Opera Magazine

'What a fascinating enterprise.'...'Russell Braun s Troil is a model of style and elegance... Minkowski had the idea of presenting the two operas in a single evening. Enthralling, mad, or both?' --Opera Now

'...Minkowski gets vivid playing from his Musiciens de Lourve and there is a palpable sense of the dramatic impact the opera must have had in the 1840 s.' --International Record Review

'What a fascinating enterprise.'...'Russell Braun s Troil is a model of style and elegance... Minkowski had the idea of presenting the two operas in a single evening. Enthralling, mad, or both?' --Opera Now

Customer Reviews

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Top Customer Reviews

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My last purchase of Wagner recordings in the anniversary year 2013 was in some respects the most interesting if not the most enjoyable. I'm known as no fan of HIP/HAP performances of his music-I absolutely detested the Norrington/LCP recording of some years back, and Rattle's performance of Das Rheingold with the OAE (available on CD from certain sources) leaves me baffled.

What attracted me to this recording was that it is of the original 1843 Score, not the second revision of 1845 that we normally hear, when the work was set in Scotland, with Daland named Donald though Senta still retaining her most un-Scottish name.

Those unfamiliar with this version need not fear-there are no additional bagpipes or eightsome reels in the score!

Thus, in this instance, there is some validity in adopting HIP practice, for this is certainly very near to how those early Dresden performances would have sounded.
Marc Minkowski and his usual Grenoble band are renowned for their virtuosity, and they are joined by the highly acclaimed Estonian Chamber Choir, more familiar to us in the works of Arvo Part.

The orchestra is about 50 strong-the musicians are listed but I haven't counted-and the sound is punchy and surprisingly rich, with the added transparency that a more chamber like ensemble brings to any score.
We know what to expect-brisk tempi, clipped rhythms, no vibrato, short stopping, rich horns, thin trumpets, over ripe tuba and genuine wooden woodwind all played at a much lower pitch-and that's exactly what we get in this very well recorded set.
The tam-tam is the "lightening sheet" specified by Wagner-a thin rectangular sheet of metal which provides quite a startling effect.
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Format: Audio CD
I enjoyed both performances very much - the concentrated and focussed manner of Wagner's original conception (which lacks the penchant for egomaniacal sprawl which, for instance, seriously mars his later reconception of the Overture's coda, which in its Tristanic ramblings always seemed to me like fitting new gaudy trousers on a well-made conservative older suit) is fascinating, and Dietsch's surprisingly effective work, which is really unlike any other work in the contemporary French repertoire in its sombre hues and brevity. Dietsch isn't a breathtakingly wide-spanning melodist, but his tunes are attractive, his orchestration better than just "effective", and his dramatic sense, particularly in his second act (with a really thrilling aria for the character Magnus) is remarkably sure-footed. The singing is mixed as to timbral quality - very much a personal taste - but very intelligent and characterful in my opinion, and the orchestra is beyond reproach technically and fabulously colourful in both works thanks to Minkowski. The most "perfect" and Valhallic of Wagnerians may not care much for these, but for those who can shed idolatry and just listen open-mindedly these are wonderful recordings.
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By Ralph Moore TOP 50 REVIEWER on 23 Feb. 2014
Format: Audio CD
Stewart Crowe has already provided an admirably perceptive and exhaustive review of this double-opera issue so I can add only my personal reaction to listening to them. I am not as generous or enthralled as he, insofar as there are, for me, two insurmountable obstacles to my taking much pleasure in either. While I am interested to hear the original 1843 version of the "Holländer", it is in no way preferable to the revised item we hear performed today, published in 1860.

I found this original version conducted by Minkowski very disappointing not because of the smaller orchestra, the period practice or even the musical content but more because of the quality of the singing. I found all the singers with the exception of Eric Cutler to be inadequate or at best undistinguished. Nikitin is grey-toned and weak above the stave so that he is sometimes yelling and even fails to cut through the band of 50 instrumentalists; his "Niemals der Tod" is a non-event. Ingrid Brimberg is shrill and monotonous as Senta. The small Estonian chorus seems underpowered although the ladies sing beautifully.

The orchestra plays well but there are problems with synchronising between it and the off-stage horns.

The companion piece by Dietsch simply confirms why it is that his opera has disappeared from the repertoire. The music is well-crafted but utterly, totally predictable rather in the manner of the most uninspired Meyerbeer (which is most of it!) so that absolutely nothing is memorable. It is designed to give singers showpiece arias but the melodies just melt away like candyfloss in the mouth.
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Later Wagner does not mar Overture or ende of Opera. One needs to think here not Musically but psycologecely as in Senta represents redemption through spiritual love something wagner wanted to say in 1840s but trietan needed to be written first, than he could realise both Hollander and Tannhauser as he wanted to. I see Opera not as music, but drama using the language of music. So music goes and only drama remains.
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