Search - Richard [Classical] Wagner, Georg Solti, Chicago Symphony Orchestra :: Wagner: Die fliegende Holländer

An also-ran from Solti, but in stunning sound

Santa Fe Listener | Santa Fe, NM USA | 04/27/2007

(3 out of 5 stars)

"Given Decca's wide-ranging sound, the CSO's supreme viruosity on aggressive display, an unbelievably precise chorus, and Solti's razor-edge phrasing, there are thrills to be had here. You can't really have a successful Flying Dutchman without two outstanding leads, and unfortunately Nomran Bailey and Janis Martin fall considerably short of that. Bailey has the right voice but approaches the role of the tormented Dutchman with dignity and reticence. Martin is simply inadequate technically. Despite the lovely timbre of her voice, she's cautious and her top notes expose considerable unsteadiness. In addition, there's a certain clinical coldness about the whole proceedings. You don't believe for a moment that you are in the oepra house, and een the chorus sounds as if they are reading form the score. Oh well, this recording is definitely one of Solti's alo-rans."

Very good introduction to Wagner's first "big" opera

J. H. Gaulard | London United Kingdom | 01/19/2007

(4 out of 5 stars)

"I am quite surprised by the fact that this set never got more reviews than it did on Amazon: the only one applies to the non-remastered version of the performance. I remember learning my Wagner with this performance a good twenty years ago now and I was quite worried about purchasing the set again with "the new sound" and do a trip back down memory lane...in most cases, one is disappointed by the results but hopefully not here. The second the Chicago Symphony Orchestra starts with the opening chords of the piece, you are caught in the eye of the storm: the tempest, the fear, the waves jumping at your speakers, it's all in there. The dynamics are ENORMOUS, Solti relishes in letting the sound of this beautiful orchestra spread in all the sound space. Overall the fantastic orchestral display I remembered from my youth was here ...and more, thanks to a remastering of the original tapes making the performance even clearer than it was. But Fliegende is not all about being loud. Solti has a very good sense of contrasts and can let its orchestra breathe: listen to the clarinets in the Eric-Senta duet in Act II: simply beautiful.

Was the cast up to the really good memories of my youth? Well yes and no!

Norman Bailey, brilliant British heldenbass, is not at ease as the Hollander here. His initial monologue is buried under Solti's thankless orchestra, his German is not well articulated and his high notes clearly come from the throat...His duet with Senta in Act II is nonetheless very good and his portrayal remains acceptable. Talvela is very lazy in this recording and the Finnish bass simply turns up with his marvellous voice without trying anything. His sound remains sumptuous though!

The rest of the cast is really good: Rene Kollo portrays a youthful, noble Erik, Janis Martin is simply put an amazing Senta. She inhabits the part with her beautiful, crystal-clear voice and her portrayal of Senta is still, twenty years after and a lot of Wagner down the road, one of the best I have heard. Krenn is an elegant Mozartian pilot and Isola Jones does the job as Mary, no more no less. The Chicago Symphony Chorus is a bit stale though and doesn't really hold its rank opposite such a demonic orchestra. Regardless of these minor flaws, this Fliegende represents a perfect introduction to the piece thanks to its Senta, Sir Georg and his fabulous orchestra. Recommended.

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