Wagner: Der fliegende Holländer (Paris version, 1841)

Donald..............................Franz Joseph Selig, Bass

Senta.................................. .Astrid Weber, Soprano

Georg...................................Jörg Dürmüller, Tenot

Mary............................Simone Schröder, Contralto

Der Steuermann..........Kobie van Rensburg, Tenor

Der Holländer.................Terje Stensvold, Baritone

Capella Coloniensis Orchestra, Bruno Weil

[Flac & Scans]

With this Dutchman on DHM, Bruno Weil attempts to refresh Wagner's classic by returning it to its original form. He deploys a scaled-down orchestra of period instruments (including both natural and valved brass, and an ophicleide in place of the modern tuba) and uses the original Paris version of the score, which predates even Wagner's own revisions made before the 1843 premiere in Dresden. Among other things, the Paris score eliminates Wagner's stylistically ill-fitting reworking of the overture from the 1860s, and transposes Senta's Act II ballad to the key of A minor. Far from an academic exercise in authenticity, Weil's effort is a compelling argument for rethinking the modern conception of Wagner's works, in which bigger is almost always better, and in which his early works are prized as much for their foreshadowing of his mature masterpieces as for their own qualities. Though smaller, Weil's orchestra is still majestic in sound while posing less of a balance problem for the singers; the subtle variety of wind colors shades the drama in unexpected ways. And the musical changes, though subtle to all but the most familiar listeners, leave the opera feeling more coherent, and less overgrown -- it was conceived as a one-act, after all. The performance is also musically compelling. Weil keeps the pot stirring at all times, and the Cappella Coloniensis sounds fantastic, especially in the restored overture. The singers are a capable and obviously experienced group of Wagnerians, led by Terje Stensvold as the Dutchman and Astrid Weber as Senta. But vocophiles are unlikely to prefer this journeyman group to the more marquees casts already available. Weber handles her transposed ballad capably, but her vocal timbre is anything but youthful. And Stensvold, though commanding, is uneven from moment to moment. Franz-Josef Selig is an unusually charming Donald (usually "Daland" -- this original version makes him a Scottsman), brimming with pride and warm generosity. In all, this is a performance of great value to those with a strong interest in Wagner, and of less to those who just want to hear great singing.