I remember seeing this set come out on another label about a decade ago, taking one look at the names, and thinking "Why would anyone put this out? Who are these people?" I knew of Otto von Rohr and Siw Ericsdotter from the Swarowsky Ring cycle and I'd heard both Ernst Gruber and Tomaslav Neralic before, but didn't have a strong impression of either. I associated Vittorio Gui with Italian opera and little else. Just goes to show that one mustn't judge a performance before one has heard it because this a terrific Fliegende Hollander. It's not better than the best and one can find a few things to pick at, but we'd be hard pressed to assemble a group singers that are as strong and characterful as these today.Neralic doesn't have the sheer voice of George London, Hans Hotter, Hermann Uhde, or even Thomas Stewart, but he does have imagination to spare and uses his more slender

...but he does have imagination to spare and uses his more slender vocal means with intelligent, colorful purpose. Ericsdotter has a steady, attractive soprano with a strong top and is equally exciting. Her top Bs at the end bring the opera to a rousing conclusion. Von Rohr was, perhaps, just past his prime, but it's still a major voice. He avoids the sleazy interpretation of Daland that has become standard in contemporary performances and it's a relief. Gruber's voice is a little wooly, rather like Bernd Aldenhoff, but with a steadier, more focused vibrato. He conveys all of Erik's torment without getting too sweaty about it. Both Rolf Bottcher and Elisabeth Schartel are very effective in their roles. Some of Gui's tempos in the overture are slower than we're used to hearing, but once the singers enter he brings everything together with style and a fine sense of drama.The sound is excellent: full, warm, and clear. If you love this opera, you need to hear this performance.

Part 1 of 2...due to lack of space!Every so often, a performance on Opera Depot cruises into view [sorry; couldn’t help it] and demands to be heard – this is just such an outing!In excellent broadcast sound, Gui drives his singers, chorus and orchestra to present the work afresh as the 30-year old Wagner must have wanted...i.e. as a complete music drama. This performance, in the three-act version mainly favoured in the 1950s, is devoid of any misguided attempts to “hallow” the opera or give it a gravitas which doesn’t exist – after all, it’s not Tristan or Parsifal but a young man’s version of an exciting ghost/thriller story.Two or three of the singers were unknown to me. Tomislav Neralic had a very impressive career (check him out) and the Dutchman was obviously a key role. His interesting voice - not quite top quality – is reminiscent of the wonderful Raimund Herincx [plenty of him in Opera Depot], with a similar attractive “catch” in places, together with an occasional tendency to overemphasise for dramatic effect – and both singers had an abundance of vocal acting ability! Neralic runs into a tiny bit of trouble in the fiendishly-difficult soft passages in the Act Two duet but it’s not serious. Overall, his performance is a very impressive, young man’s take on a Dutchman who comes over as impulsive, troubled, grateful first to Daland then to Senta, and finally heartbroken as well as fearsome, as his hopes are dashed (listen to his final declamation).

Part 2 of 2...due to lack of space!Siw Eriksdotter can be found as Herodias on the Goltz/Suitner Salome so she must have become a mezzo later in her career; otherwise I had difficulty finding anything more. As Senta, she’s...well, simply a revelation! Think Gwyneth Jones crossed with Anja Silja with a soupcon of Leonie Rysanek, Josephine Barstow and Anja Kampe thrown in and you’ve got Siw Erikdotter! She may not be the subtlest of Sentas but the voice is large, steady (not one wobble in this very exposed role) and dramatic. Like Neralic, she’s a great vocal actor and we really believe in this impulsive young woman who falls in love with a portrait and eventually sacrifices her life for a ghost!Otto von Rohr, just past his best, is a dependable, traditionally genial Daland, entirely without the subtext of greed which I prefer, and which one finds in the Dalands of (say) Matti Salminen or Gottlob Frick. Ernst Gruber’s Erik is rather too “ernst” and he sometimes tends to sing coarsely; his quieter passages though – such as the dream – are more sensitive and show what he can do. Compensation in the tenor fach is provided in spades by Rolf Bottcher’s Steersman; simply one of the most lyrical and attractive readings of the role I have ever heard. Schartel’s positive Mary is a known Wagnerian quantity.Whilst not “the best” live Hollander available, either on O/D or elsewhere, this is real find and should on no account be missed!

An absolutely HAIR-RAISING performance! Not a weak link in the cast (nor a wobble!). The Maggio Musicale Orchestra is ablaze and Gui drives them ever onward to the final apotheosis with a mania fit for the subject and substance.