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Der fliegende Holländer
Wagner intended the ghost story that would become his first masterpiece, Der fliegende Holländer, for the Paris stage, and indeed sold it to the intendant of the Paris Opera, but unfortunately said impresario didn't quite get it, and wound up passing. This French performance gives us a taste of what Wagner's original vision may have been, and makes a strong case for the translation. René Bianco is a tower of anguished strength in the title role, and makes much of his massive act one monologue. Geneviève Moizan's Senta is a little heavier than I like in the role, but she cuts through the orchestra with a voice like steel. The supporting cast is strong, with a fine, almost-sympathetic Erik from Jean Giraudeau. Although the sound is far from good, Charles Bruck's handling of the orchestra and singers shows a well-balanced, firm control of the Wagnerian idiom. Unfortunately, the performance is missing the last 30 seconds of the opera.
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3.6
Based on 5 reviews
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France
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France
Hasards ?
Au même moment le Palais Garnier affichait Varnay, Hotter, Van Mill, Beirer sous la direction de Knappertsbusch.
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United States
Fine Performance, Listenable Sound!
Singing Der Fliegende Holländer as Le Vaisseau Fantôme gives the opera an elegance that Wagner probably didn't envisage. The singers are all of the older French school of singing and are all excellent. Rene Bianco's rich, steady voice is heard to great advantage here. He offers a beacon of hope that is most refreshing after all the anguish of most of the German interpreters. Genevieve Moizan was the Mignon in the first complete studio recording of that opera so some might assume she was a mezzo, but she sang many soprano roles as well as other "zwischenfach" parts (not uncommon at the time). She has no difficulty with the tessitura and her strong, wobble-free voice is a pleasure to hear. Similarly, Xavier Depraz is a bel canto Daland. Jean Giraudeau is an uncommonly persuasive Erik; listen to how he phrases his last act aria, the turns cleanly and musically sung. The luxury of having the great Denise Scharley as Mary and the mellifluous tenor of Joseph Peyron as the Steersman makes one marvel at the care that was taken in the casting of this performance. If Charles Bruck isn't a world-class Wagner conductor, he still leads a very effective performance. This sounds like it was downloaded from a source that had a lot of the high frequencies curtailed, transferred at too low a level. But we've all heard worse. The last thirty seconds or so get faded out - did the broadcast run over time?For Dutchman fans and those who enjoy great French singers.
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France
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Canada
