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Der fliegende Holländer
This recording of Der fliegende Holländer is a treasure, showcasing the rare Senta of Birgit Nilsson and the even rarer Dutchman of Ramón Vinay. Unlike many tenors who transition to baritone roles as their upper range wanes, Vinay’s Dutchman might convince you he was a baritone all along. His voice carries a burnished warmth, and he sings with an ease of production that often eluded him in his thrilling but more strained Tristans.
One might expect Birgit Nilsson’s Senta to emphasize the dramatic aspects of the role, but where she truly shines is in the sustained lyricism, particularly in the Act II duet, where she beautifully highlights the connection between Wagner and Bellini.
Unfortunately, the first act is missing, which is a great loss as Vinay’s monologue would undoubtedly have been a standout. Still, this recording remains a gem.
Track List
Act II
1. Summ' und brumm', du gutes Rädchen
2. Ah... Du seht ihr! Immer vor dem Bild!
3. Johohohe! Johohohe!... Traft ihr das Schiff
4. Senta! Willst du mich verderben?
5. Mein Herz, voll Treue bis zum Sterben
6. Mein Kind, du siehst mich auf der Schwelle...
7. Wie aus der Ferne längst vergang'ner Zeiten
8. Wirst du des Vaters Wahl nicht schelten?
9. Verzeiht! Mein Volk hält draussen sich nicht mehr
2. Ah... Du seht ihr! Immer vor dem Bild!
3. Johohohe! Johohohe!... Traft ihr das Schiff
4. Senta! Willst du mich verderben?
5. Mein Herz, voll Treue bis zum Sterben
6. Mein Kind, du siehst mich auf der Schwelle...
7. Wie aus der Ferne längst vergang'ner Zeiten
8. Wirst du des Vaters Wahl nicht schelten?
9. Verzeiht! Mein Volk hält draussen sich nicht mehr
Act III
10. Steuermann! Lass die Wacht!
11. Was musst ich hören? Gott, was muss ich sehen?
12. Verloren! Ach! verloren!
13. Wohl' kenn' ich dich! Wohl kenn' ich dein Geschick!
11. Was musst ich hören? Gott, was muss ich sehen?
12. Verloren! Ach! verloren!
13. Wohl' kenn' ich dich! Wohl kenn' ich dein Geschick!
BONUS: Birgit Nilsson Sings Arias
14. Der Männer Sippe
15. Du bist der Lenz
Die Walküre. Hamburg, 1953
Hans Schmidt-Isserstedt, conductor
16. Allein! Weh, ganz allein!
Elektra. Montreal, 1967
Karl Böhm, conductor
17. Wie lachend sie mir Lieder singen
18. Mild und leise
Tristan und Isolde. Mannheim, 1975
Regine Fonseca, Brangäne
Hans Wallat, conductor
15. Du bist der Lenz
Die Walküre. Hamburg, 1953
Hans Schmidt-Isserstedt, conductor
16. Allein! Weh, ganz allein!
Elektra. Montreal, 1967
Karl Böhm, conductor
17. Wie lachend sie mir Lieder singen
18. Mild und leise
Tristan und Isolde. Mannheim, 1975
Regine Fonseca, Brangäne
Hans Wallat, conductor
Customer Reviews
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3.2
Based on 5 reviews
✓ Verified Buyer
United States
Actually from Pittsburgh
Sound just fair and the venue was Syria Hall in Pittsburgh. Worth hearing for Nilsson a rare role
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Greece
Fliegende Holländer
The sound quality was very poor at some points but the performance was excellent. I expected the normal CD box rather than that plastic cover and also some photos of the performance (if not the libretto also). The name of the bass is Nicola Moscona.
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✓ Top Reviewer
France
✓ Verified Buyer
Mark Conlon
Seeing Ramon Vinay’s name associated with a baritone role is no surprise. Vinay actually started as a baritone, “pushed up” to tenor, then as he aged he reverted to being a baritone. To my knowledge he’s the only singer who recorded Verdi’s “Otello” as both the title character and Iago (though not in the same performance!) — and it’s interesting how many of the greatest Otellos of all time (Zenatello, Zanelli, Melchior, Vinay and Domingo) were pushed-up baritones. (And given that Domingo recently sang the title role of Verdi’s “Simon Boccanegra” as a baritone after having previously recorded the opera’s tenor role, Gabriele, I wouldn’t discount the possibility that he might record Iago!)
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Dag Kyndel
Most interesting with Nilsson as Senta. I had never expected to find such a recording. I have always thought that she left the role behind her in the 50′s!
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