RICHARD WAGNER – DER FLIEGENDE HOLLANDER

(Musical Heritage Society 524795A; 2 discs)

Live recording from the Bayreuth Festival, August 1961.

THE DUTCHMAN – Franz Crass
SENTA – Anja Silja
DALAND – Josef Greindl
ERIK – Fritz Uhl
MARY – Res Rischer
DALAND'S STEERMAN – Georg Paskuda

Bayreuth Festival Chorus and Orchestra
Wolfgang Swallisch, conductor

This is the 3-Act version based on the autograph score. In his excellent article on the opera Wolfgang Swallisch states that the autograph score doesn't feature the "Redemption" motive usually performed at the end of the overture and the opera. Swallisch explains that Wagner added the motive for three Paris concerts in 1860; however, there doesn't seem to be any evidence explaining why or how the use of the motive in the overture and the opera's finale became standard practice.

Franz Crass meets the lyrical and dramatic demands of this demanding role with aplomb, creating a memorable characterization. He is able to scale his large instrument down to deliver some poignant lyrical singing. Devilish, brooding and sarcastic but not without a sense of humor, Crass is a convincing Dutchman overwhelmed by self-pity and doom.

Anja Silja is riveting. Some of her piano singing is beautifully haunting. The middle part of her voice is veiled and yet this seems to suggest Senta's obsession and hysteria. The top is steady and powerful, ringing out freely over the orchestra.

Fritz Uhl is affecting in his scenes with Silja though at times his capable heldentenor seems just a touch thick and unyielding to Wagner's vocal line.

Georg Paskuda possesses a brawny tenor with ringing high notes. He gives the First Act song just the right touch of melancholy, avoiding mawkish sentimentality.

The dark-voiced Joseph Greindl is excellent as Senta's money-hungry father.

Res Fischer is a suitably dour Mary.

The Bayreuth chorus is in splendid form, singing with great dramatic presence. The men are boisterous and rowdy in the First Act. The women ably capture the liveliness and humor in the Second Act. In the Third Act both men and women do their best work aptly conveying the startling contrast between the lusty mocking at the beginning of the act to the ensuing terrifyingly eerie exchanges with the Phantom Sailors.

Swallisch's superb conducting contributes greatly to this intense and vivid performance. He gives the singers ample room to shape the phrases without slackening the musical pulse. The Third Act is simply hair-raising! The Bayreuth Orchestra responds to his baton with exciting precision. Kudos to the brass section for their vigorous, shining tone.

The accompanying booklet includes an English/German libretto, Swallisch's article on the opera, pictures of the cast, and a synopsis.

The sound engineers have successfully captured the warmth, crispness and bite of the Bayreuth theater's acoustics.

This is an excellent recording in all respects.

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