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COMPOSERWAGNER, RICHARD
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ORCHESTRA / ENSEMBLERundfunk-Sinfonieorchester Und Choir Berlin
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PERFORMERR.D., Hablowetz, Da, Janowski, Salminen, Merbeth, Smith
Wagner: Der Fliegende Hollander / Janowksi, Salminen, Merbeth, Hablowetz
Regular price
$32.99
Unit price
per
- PENTATONE
- August 30, 2011
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RELEASE DATEAugust 30, 2011
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UPC827949040061
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CATALOG NUMBERPTC5186400
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LABELPENTATONE
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NUMBER OF DISCS2
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GENRE
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Ouverture
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Conductor: Marek Janowski
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Act I Scene 1: Introduction - Hojohe! Hallojo! Hojoha! Ho! (Chorus)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Conductor: Marek Janowski
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Act I Scene 1: Mit Gewitter und Sturm aus fernem Meer (Steuermann)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Steve Davislim
Conductor: Marek Janowski
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Act I Scene 2: Aria: Die Frist ist um (Hollander)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Albert Dohmen
Conductor: Marek Janowski
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Act I Scene 2: Wie oft in Meeres tiefsten Schlund (Hollander)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Albert Dohmen
Conductor: Marek Janowski
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Act I Scene 3: Chorus and Duet: He! Holla! Steuermann! (Daland, Steuermann, Holländer)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Matti Salminen, Steve Davislim, Albert Dohmen
Conductor: Marek Janowski
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Act I Scene 3: Durch Sturm und bosen Wind verschlagen (Hollander, Daland)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Albert Dohmen, Matti Salminen
Conductor: Marek Janowski
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Act I Scene 3: Wie? Hort' ich recht? Meine Tochter sein Weib? (Daland, Holländer)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Matti Salminen, Albert Dohmen
Conductor: Marek Janowski
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Act I Scene 3: Sudwind! Sudwind! (Steuermann, Matrosen, Daland, Holländer)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Performer: Steve Davislim, Matti Salminen, Albert Dohmen
Conductor: Marek Janowski
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Act I Scene 3: Mit Gewitter und Sturm (Chorus)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Conductor: Marek Janowski
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Act II Scene 4: Summ und brumm, du gutes Radchen (Chorus, Mary)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Performer: Silvia Hablowetz
Conductor: Marek Janowski
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Act II Scene 4: Du boses Kind, wenn du nicht spinnst (Mary, Chorus, Senta)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Performer: Silvia Hablowetz, Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 4: Johohoe! Traft ihr das Schiff im Meere an (Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 4: Ach! Wo weilt sie (Chorus, Senta, Mary)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Performer: Ricarda Merbeth, Silvia Hablowetz
Conductor: Marek Janowski
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Act II Scene 4: Senta! Senta! Willst du mich verderben? (Erik, Chorus, Mary, Senta)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Performer: Robert Dean Smith, Silvia Hablowetz, Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 5: Duet: Bleib, Senta! Bleib nur einen Augenblick! (Erik, Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Robert Dean Smith, Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 5: Auf hohem Felsen lag ich traumend (Erik, Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Robert Dean Smith, Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 6: Mein Kind, du siehst mich auf der Schwelle (Daland, Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Matti Salminen, Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 6: Mogst du, mein Kind, den fremden Mann willkommen heissen (Daland)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Matti Salminen
Conductor: Marek Janowski
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Act II Scene 6: Duet: Wie aus der Ferne langst vergang'ner Zeiten (Hollander, Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Albert Dohmen, Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 6: Wirst du des Vaters Wahl nicht schelten? (Hollander, Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Albert Dohmen, Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 6: Ein heil'ger Balsam meinen Wunden (Hollander, Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Albert Dohmen, Ricarda Merbeth
Conductor: Marek Janowski
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Act II Scene 6: Verzeiht! Mein Volk halt draussen sich nicht mehr (Daland, Senta, Holländer)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Matti Salminen, Ricarda Merbeth, Albert Dohmen
Conductor: Marek Janowski
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Act II: Orchestral Interlude
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Conductor: Marek Janowski
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Act III Scene 7: Steuermann, lass die Wacht! (Chorus)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Conductor: Marek Janowski
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Act III Scene 7: Mein! Seht doch an! (Chorus, Steurmann)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Performer: Steve Davislim
Conductor: Marek Janowski
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Act III Scene 7: Johohohe, Johohohe! Hoe! Hoe! (Chorus)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Conductor: Marek Janowski
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Act III Scene 8: Was musst' ich horen (Erik, Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Robert Dean Smith, Ricarda Merbeth
Conductor: Marek Janowski
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Act III Scene 8: Cavatina: Willst jenes Tags du nicht dich mehr entsinnen (Erik)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Robert Dean Smith
Conductor: Marek Janowski
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Act III Scene 8: Finale: Verloren! Ach, verloren! Ewig verlor'nes Heil! (Hollander, Erik, Senta)
Composer: Richard Wagner
Ensemble: Rundfunk-Sinfonieorchester Berlin
Performer: Albert Dohmen, Robert Dean Smith, Ricarda Merbeth
Conductor: Marek Janowski
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Act III Scene 8: Erfahre das Geschick, vor dem ich dich bewahr'! (Hollander, Erik, Senta, Daland, Mary, Chorus)
Composer: Richard Wagner
Ensemble: Berlin Radio Choir, Rundfunk-Sinfonieorchester Berlin
Performer: Albert Dohmen, Robert Dean Smith, Ricarda Merbeth, Matti Salminen, Silvia Hablowetz
Conductor: Marek Janowski
Featuring ⌄
Product Details ⌄
Works ⌄
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
3534820.az_WAGNER_Der_Hollander_Marek.html
WAGNER Der fliegende Holländer • Marek Janowski, cond; Albert Dohman ( Dutchman ); Matti Salminen ( Daland ); Ricarda Merbeth ( Senta ); Robert Dean Smith ( Erik ); Silvia Hablowetz ( Mary ); Steve Davislim ( Steersman ); Berlin RSO & Ch • PENTATONE PTC 5186 400 (2 SACDs: 126:30 Text and Translation) Live: Berlin 11/13/2010
This release marks the beginning of an SACD traversal from PentaTone of the 10 frequently performed Wagner operas. In a charmingly old-fashioned gesture, PentaTone will provide with each of the first nine sets a voucher that, if you collect them all, entitles you to a 50-percent price reduction for the final item ( Götterdämmerung, due in November 2013) or—for free—a “special CD collection box.” A cool marketing idea. I wonder if other Wagnerian promotion schemes were kicked around: “Collect them all, kids, and get a free Tarnhelm!”
Something can be said for concert performances of Wagner’s operas. (Studio recordings, for economic reasons, are largely a thing of the past.) There’s no possibility of directorial malpractice, something that these works seem to attract. I just returned from the 100th Bayreuth Festival where I encountered, among much else of questionable merit, a Lohengrin where the good citizens of Brabant were all laboratory rats, a Parsifal with a transvestite Klingsor sporting black fishnet stockings, and a Tannhäuser set in a chemical plant for no good reason. The focus in concert, by default, is on the music, and this inaugural release has got the goods. Marek Janowski provides dramatic impetus to the proceedings but also assures that the orchestra’s role is never slighted. He lingers appealingly as he plays the excerpt from Senta’s Ballad heard in the overture, and there’s a joyous swing to the Entr’acte leading into Holländer ’s final two scenes. Janowski makes the most of the Italianate aspects of the score, including a lovely, lyrical Steersman’s Lied in act I (courtesy of the excellent Australian singer Steve Davislim) and, of course, the very Verdian finale of act II. The chorus, prepared by Eberhart Friedrich, director of the Bayreuth Festival Chorus since 2000, does its job with an incredible precision that would be impossible in the context of a staged production.
An excellent cast was assembled for this live recording that documents a single performance at the Berlin Philharmonie on November 13, 2010. Leading the charge are Albert Dohman, highly regarded for his Wotan (as heard on Et’Cetera SACDs with Harmut Haenchen, and on Opus Arte with Christian Thielemann from Bayreuth) and Matti Salminen, one of the world’s go-to basses for Gurnemanz, Marke, Hagan, and Hunding. Salminen sings a hearty Daland and makes the most of Wagner’s songful passages. His aria toward the end of act II (“Mögst du, mein Kind”) has a Mozartean grace and fluidity. Dohman’s performance is equally impressive. His voice, like Salminen’s, is inherently appealing yet imbued with the tortured quality the role demands; we sense the same anguish that Wotan radiates in act II of Die Walküre or the beginning of Siegfried ’s last act. The Dutchman’s bitterness and sorrow are powerfully portrayed without scenery-chewing.
To my taste, Ricarda Merbeth’s soprano is a bit squally and insufficiently youthful-sounding. There could be more of a sense of “ever-increasing agitation” (“immer zunehmender Aufregung fort”) as she progresses through the three stanzas of Senta’s Ballad. On the other hand, Kansas-born Robert Dean Smith’s handsome Heldentenor instrument—he’s been Bayreuth’s Tristan since 2005—assures that Erik is a more compelling character than is often the case.
As usual, PentaTone’s high-resolution sonics are superb. Multichannel makes clear a mid-hall audience perspective that still provides plenty of involving impact, but places offstage horns way off in the distance. (Spatially, the sound is still more than satisfactory in stereo.) PentaTone’s 140-page booklet is bound into the cardboard package and there are heavy paper sleeves attached as well to hold the two discs. There’s a German/English libretto that, unfortunately, isn’t indexed to the tracks on the discs. The booklet also includes substantial liner notes by Steffen Georgi, the dramaturge for the Berlin Radio Symphony Orchestra, which is to say that he gives lectures before many of the ensemble’s concerts. Recommended—and don’t lose that voucher!
FANFARE: Andrew Quint
WAGNER Der fliegende Holländer • Marek Janowski, cond; Albert Dohman ( Dutchman ); Matti Salminen ( Daland ); Ricarda Merbeth ( Senta ); Robert Dean Smith ( Erik ); Silvia Hablowetz ( Mary ); Steve Davislim ( Steersman ); Berlin RSO & Ch • PENTATONE PTC 5186 400 (2 SACDs: 126:30 Text and Translation) Live: Berlin 11/13/2010
This release marks the beginning of an SACD traversal from PentaTone of the 10 frequently performed Wagner operas. In a charmingly old-fashioned gesture, PentaTone will provide with each of the first nine sets a voucher that, if you collect them all, entitles you to a 50-percent price reduction for the final item ( Götterdämmerung, due in November 2013) or—for free—a “special CD collection box.” A cool marketing idea. I wonder if other Wagnerian promotion schemes were kicked around: “Collect them all, kids, and get a free Tarnhelm!”
Something can be said for concert performances of Wagner’s operas. (Studio recordings, for economic reasons, are largely a thing of the past.) There’s no possibility of directorial malpractice, something that these works seem to attract. I just returned from the 100th Bayreuth Festival where I encountered, among much else of questionable merit, a Lohengrin where the good citizens of Brabant were all laboratory rats, a Parsifal with a transvestite Klingsor sporting black fishnet stockings, and a Tannhäuser set in a chemical plant for no good reason. The focus in concert, by default, is on the music, and this inaugural release has got the goods. Marek Janowski provides dramatic impetus to the proceedings but also assures that the orchestra’s role is never slighted. He lingers appealingly as he plays the excerpt from Senta’s Ballad heard in the overture, and there’s a joyous swing to the Entr’acte leading into Holländer ’s final two scenes. Janowski makes the most of the Italianate aspects of the score, including a lovely, lyrical Steersman’s Lied in act I (courtesy of the excellent Australian singer Steve Davislim) and, of course, the very Verdian finale of act II. The chorus, prepared by Eberhart Friedrich, director of the Bayreuth Festival Chorus since 2000, does its job with an incredible precision that would be impossible in the context of a staged production.
An excellent cast was assembled for this live recording that documents a single performance at the Berlin Philharmonie on November 13, 2010. Leading the charge are Albert Dohman, highly regarded for his Wotan (as heard on Et’Cetera SACDs with Harmut Haenchen, and on Opus Arte with Christian Thielemann from Bayreuth) and Matti Salminen, one of the world’s go-to basses for Gurnemanz, Marke, Hagan, and Hunding. Salminen sings a hearty Daland and makes the most of Wagner’s songful passages. His aria toward the end of act II (“Mögst du, mein Kind”) has a Mozartean grace and fluidity. Dohman’s performance is equally impressive. His voice, like Salminen’s, is inherently appealing yet imbued with the tortured quality the role demands; we sense the same anguish that Wotan radiates in act II of Die Walküre or the beginning of Siegfried ’s last act. The Dutchman’s bitterness and sorrow are powerfully portrayed without scenery-chewing.
To my taste, Ricarda Merbeth’s soprano is a bit squally and insufficiently youthful-sounding. There could be more of a sense of “ever-increasing agitation” (“immer zunehmender Aufregung fort”) as she progresses through the three stanzas of Senta’s Ballad. On the other hand, Kansas-born Robert Dean Smith’s handsome Heldentenor instrument—he’s been Bayreuth’s Tristan since 2005—assures that Erik is a more compelling character than is often the case.
As usual, PentaTone’s high-resolution sonics are superb. Multichannel makes clear a mid-hall audience perspective that still provides plenty of involving impact, but places offstage horns way off in the distance. (Spatially, the sound is still more than satisfactory in stereo.) PentaTone’s 140-page booklet is bound into the cardboard package and there are heavy paper sleeves attached as well to hold the two discs. There’s a German/English libretto that, unfortunately, isn’t indexed to the tracks on the discs. The booklet also includes substantial liner notes by Steffen Georgi, the dramaturge for the Berlin Radio Symphony Orchestra, which is to say that he gives lectures before many of the ensemble’s concerts. Recommended—and don’t lose that voucher!
FANFARE: Andrew Quint
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