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Der fliegende Holländer
Josef Greindl exists in the minds of opera aficionados as the possessor of a big, black bass perfectly suited to villains, devils and the occasional king. Hearing him as Wagner's most tortured sailor therefore requires a slight leap in cognitive process. His Dutchman is as tortured, brooding and angst-ridden as the roles' greatest interpreters, but Greindl's voice brings the part an undercurrent of fitful rage... he is less beaten down by his eternal wandering as he is driven by it. His Senta, Gladys Kuchta, is a little more conventional, delivering her ballad with a big, wild sound and tightly controlled intensity. Hans Beirer is a very good Eric, impassioned but lacking in spark, and Donald Grobe is an impeccably plaintive steersman. Lorin Maazel is more at home in the expansive love duet than in the Sturm und Drang, but he drives the opera forward unrelentingly.
Track List
Act I
1. Ouvertüre
2. Hojohe! Hallojo!
3. Mit Gewitter und Sturm aus fernem Meer
4. Die Frist ist um
5. He! Holla! Steuermann!
6. Wie? Hör ich recht? Meine Tochter sein Weib?
7. Mit Gewitter und Sturm aus fernem Meer
2. Hojohe! Hallojo!
3. Mit Gewitter und Sturm aus fernem Meer
4. Die Frist ist um
5. He! Holla! Steuermann!
6. Wie? Hör ich recht? Meine Tochter sein Weib?
7. Mit Gewitter und Sturm aus fernem Meer
Act II
8. Summ und brumm, du gutes Rädchen
9. Johohoe! Johohohoe!
10. Helft, Erik, uns! Sie ist von Sinnen!
11. Mein Herz, voll Treue bis zum Sterben
12. Senta, lass dir vertraun!
13. Ach, möchtest du, bleicher Seemann, sie finden?
14. Wie aus der Ferne längst vergangner Zeiten
15. Wirst du des Vaters Wahl nicht schelten?
9. Johohoe! Johohohoe!
10. Helft, Erik, uns! Sie ist von Sinnen!
11. Mein Herz, voll Treue bis zum Sterben
12. Senta, lass dir vertraun!
13. Ach, möchtest du, bleicher Seemann, sie finden?
14. Wie aus der Ferne längst vergangner Zeiten
15. Wirst du des Vaters Wahl nicht schelten?
Act III
16. Steuermann! Lass die Wacht! Steuermann! Her zu uns!
17. Wahrhaftig, ja! Sie scheinen tot!
18. Was musst' ich hören!
19. Verloren! Ach! Verloren! Ewig verlornes Heil!
17. Wahrhaftig, ja! Sie scheinen tot!
18. Was musst' ich hören!
19. Verloren! Ach! Verloren! Ewig verlornes Heil!
Customer Reviews
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5.0
Based on 1 review
✓ Top Reviewer
United States
Excellent Performance in Very Good Sound!
Although she wasn't world famous Gladys Kuchta never lacked for work and this performance shows why. She was at an age when most sopranos retire roles like Senta, but her voice is solid and attractive from top to bottom. The Ballad is sung very well, expressive, but not overacted. She knocks out a great high B to end the opera.Greindl was more often heard as Daland. His Dutchman is well sung; he doesn't sound stretched by the higher tessitura. In fact, he almost sounds like Dracula: angry and aggressive. Lagger sings Daland very well and the young Donald Grove is a mellifluous Steersman. I enjoyed hearing the distinctive Lilian Benningsen as Mary. Maazel leads a propulsive, well-paced performance, divided into two acts. The first act comes to a definite close while Act Two goes directly into the third.The voices are heard clearly though I wasn't sure if this was a broadcast or a good house tape.
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