Richard Wagner (1813-1883)
Der fliegende Holländer, Opera in 3 Acts
Dutchman: Gerald Finley (bass-baritone)
Senta: Lise Davidsen (soprano)
Daland: Brindley Sherratt (bass)
Erik: Stanislas de Barbeyrac (tenor)
Mary, Anna Kissjudit (contralto)
Steersman, Eirik Grøtvedt (tenor)
Chorus and Orchestra of Norwegian National Opera/Edward Gardner
rec. live, 2024, Oslo Opera House, Norway
Decca 4870952 [2 CDs: 131]

In the height of  the summer of 2014, the Norwegian National Opera put on two concert performances of Wagner’s Der fliegende Holländer. Decca’s decision to record the world’s most in-demand soprano of the current age in the opera may have had something to do with it. 

Den Norske Opera came into existence in 1957. It is a wonderful story that has many parallels with this project almost 70 years later. Decca at the time, were keen to sign the legendary Norwegian Kirsten Flagstad and the canny soprano made sure a radio recording she had made in Oslo of an (almost) complete Götterdämmerung would be taken up by the company and released first. The resulting six-LP set was issued on LXT 5205-10 by a reluctant John Culshaw. In return, the following year Flagstad sang Fricka in his sonic spectacular premiere recording of Das Rheingold. Flagstad was 60 at the time of this Oslo Brünnhilde. She was joined by the Swedish tenor Set Svanholm and a mainly Norwegian cast (including her younger sister). The recording was soon surpassed and mostly forgotten but it was part of a journey in Flagstad’s aim of creating a national opera company.

Of course, there is a Norwegian connection with Wagner and this opera, too. The impoverished Wagner, aboard a schooner headed for London in 1839 was held up in the Oksefjorden for a couple of days sheltering from a fierce storm. He always maintained the acoustic effect that the granite walls of the fjord had on the sailor’s cries had a lasting effect on him and he must have mused on it the following year as he began composing the music of the opera.

There is no doubt the main draw of this recording is Lise Davidsen as Senta. She was born in southern Norway and has been box office dynamite for the last six years. Singing at Bayreuth as Elisabeth in Tannhäuser before the pandemic, she returned for the 2021 and 2022 seasons adding Sieglinde too. For Covent Garden she has sung Leonore (Fidelio), and Elisabeth (both Tannhäuser and Don Carlo). It is at the Met however where she is perhaps most feted. There she has taken on Tosca, Leonora (Forza) and a host of other roles in Strauss and Wagner. In other cities she has explored the repertory even further, taking on such roles as Ellen (Peter Grimes) in Vienna and Jenufa in Chicago. Paris heard her in Salome. Aged of 37 at the time of the current recording, she is approaching her prime and we can all guess where that is heading!

Senta doesn’t get going until the second act but fasten your seatbelts when you hear those spinning wheels as its going to be quite a ride. We get a taste of the sheer power of her voice in the grumpy dialogue she has with her peers as they sing their spinning song and tease the dreamy girl. Her ballad begins with “Johohoe!” sung piano as written. She brings an almost other-worldly texture to her voice full of mystery and contemplation. Behind it, one feels the huge vocal reserves she will later deploy. In the aria, her breath control is phenomenal and her intonation secure. Her voice has freshness, life and some agility too. The size of it and the command is something special though. Of other Sentas on record, the only comparison I can make is with Gwyneth Jones’ immense assumption of the role at Bayreuth with Böhm, released on DG. Jones thins down her tone for the passage beginning at “Doch kann dem bleichen Manne” even more effectively than Davidsen and her floating of those notes and all her pianissimos actually is divine. Jones’ Senta is one of my favourite of her roles and at the 1971 Bayreuth Festival she was only 34. Going back to the ballad, Davidsen leaps the octaves effectively at “Bei bösem Wind” and the balance Decca give to her is going to please her fans for sure. She is clarion clear and Decca’s natural warm sound is generous. There is no doubt Davidsen’s account is a masterclass of how to sing the ballad. If I was to make any negative criticism, it would be that she could smile a little more with her instrument. It is all quite formidable and stern, which I suppose, considering the narrative is quite appropriate.

She dominates the scene with Erik, showing tenderness and compassion at first before rising in intensity at “Kennst jenes Unglücksel’gen Schicksal du?”. After Erik narrates his dream of the impending arrival of the Dutchman, Davidsen is ecstatic: “Er sucht mich auf!” is resounding and matched by wild abandonment in the orchestra.

In the next episode of this central act, Senta meets her father and the strange visitor she has been (not so secretly) pining after. It is a sordid scene and a good thing Senta isn’t really listening anyway to Daland, as he explains to his daughter the deal he has made for her. He leaves Senta alone with the Dutchman and we begin the great duet “Wie aus der Ferne”. Gardner is initially sensitive with dynamics in the orchestra as Gerald Finely, our Dutchman gets acquainted with Senta. Davidsen is just wonderful. Listen to the way she enunciates “träumen” in her first phrase. Her control is sure and her sheer vocal prowess hugely impressive. Finley is rather swamped by the orchestra and the amplitude of his colleague in the first part of the duet. Perhaps Gardner was a little too caught up in the majesty of Davidsen’s soaring line. To my ears he could have kept the creeping fortes in the orchestra a little more in check. The scene is very effective however and ends with the return of Daland who leads them out to the general feasting and rejoicing that accompanies the return of the men to the village.

In 1959 Columbia Records issued an LP of another great Nordic soprano in duet with the legendary Wagnerian bass-baritone Hans Hotter. Included on SAX 2296 was “Wie aus der Ferne”. Birgit Nilsson,  sang Senta very rarely but her reading of this scene with Hotter is sublime. Her laser-beam nailing of the high notes is even more thrilling than Davidsen and of course the gleaming brilliance and rock-steadiness of her soprano were – and always will be – unique. The mere fact that I can compare and find conformity between the Norwegian and La Nilsson is testament to the impressiveness of Davidsen’s performance on this new record. If you haven’t heard Nilsson, you may still be able to find a copy of the re-issued CD (review) containing this scene (and incidentally the ballad too).

Act 3 is short (only 26 minutes here) and Senta has little to sing in it, but what she has is mightily important. The scene with Erik is followed by a trio as the Dutchman arrives and senses yet another betrayal, as Senta pleads and he expresses his horror. The scene is exciting but a little too fast and hard driven by Gardner, I think. After the Dutchman reveals who he really is and his destiny, Senta rises to her peak in the work. Beginning with “Wohl kenn’ ich dich!” (I know you well) in track 14 (2:10), Davidsen unleashes her full resources and unmatched control: “Ich bin’s, durch deren Treu’ dein heil du finden sollst!” is just thrilling and a worthy climax to a stunning traversal of the role in my opinion. She is just as electrifying in her final transfiguration but for me this slightly earlier page is the one moment I will treasure from this final scene.

I make no apologies for devoting so much of this review to Lise Davidsen’s Senta. It is a towering performance and many potential buyers will want to acquire the disc for her alone. Gerald Finley’s Dutchman is not on the same level. I admire Finley’s suave bass-baritone very much. He has given us many great experiences both live and on disc in opera, oratorio and not least lieder and song. He has sung the Dutchman before and has the roles of Amfortas, Wolfram and most successfully perhaps, Sachs in his Wagnerian repertory. At the age of 64 at the time of this recording, he can still display a lovely rich, coloured and nuanced tonal palette and his artistry of phrasing is intelligent. There is no denying however that he sounds a little mature now and there are moments in his performance that are underwhelming when compared with some of the great Dutchmen of the past. “Die Frist ist um”, the great Act 1 test-piece is nicely phrased but rather underpowered. There is, however, real character and conviction; witness the phrase “die Welt zusammenkracht?” before those dominant brass chords. (An aside: once, after serving a five-year period as a teacher governor at one of the secondary schools I worked at, I started my farewell letter with those lines: “Die Frist ist um”; needless to say, it went right over the heads of those hard working Lancastrian governors.)

Erik is taken in this Decca recording by Stanislas de Barbeyrac. He has an attractive, baritonal tenor. I enjoyed his Pelléas for Alpha (review). He is scheduled to sing Siegmund for Covent Garden in Summer 2025. De Barbeyrac is effective and pure of tone in his Act 2 duet with Senta but his big moment is the cavatina in Act 3 and he handles it very well. He has some sweet notes in his upper register and contours the singing line admirably. If I have a criticism it is the loud intake of breath he makes before each phrase; perhaps this is a result of the closeness of the stage mics but it is an unfortunate habit.

British Bass Brindley Sherratt is a real success as Daland. He has a rich full sound, perfect breath control and no obvious weaknesses across his whole compass, proving winning in this role. He blends really well with Finley in Act 1; in fact, this scene is almost ideal and the place where I find Finley most effective, too. As I mentioned before, I don’t like Daland as a man but Sherratt made me see a different side to him and of course hearing his wonderful resonant instrument in the music of Wagner is always a treat.

Mary is taken on by the exciting young contralto Anna Kissjudit. She is going to be a big success if she carries on like this. The ample vibrant hue of her voice has already caught the ears of some starry opera houses, I understand. She is due to sing Erda at Bayreuth this Summer. Eirik Grøtvedt as Steersman offers a tender and sensitive reading of his part accentuated by the warm light flicker in his tenor.

Ed Gardner marks the start of his relationship as Music Director of the Norwegian National Opera with these records. In Britain we already know what he can achieve in the art form. He has experience with Wagner on stage and even did Der Fliegende Holländer at ENO in 2012. I was not wholly bowled over by his handling of certain aspects of this production and wish he had been a little more sensitive to dynamics in places. It is certainly a fiery and stormy reading, however, and will appeal to many. Decca’s sound is up-front but I admire the honesty of the image and Davidsen’s admirers will love the sonics. This recording suggests that Gardner will have a fine chorus at his disposal in Oslo. The chorus of Norwegian National Opera does a sterling job throughout.

Lise Davidsen announced at the start of 2025 that in summer she will give birth to twins. She is due back on stage in 2026 and scheduled to sing Isolde at the Met. From there Brünnhilde must surely follow. Wagnerians will be hoping and praying her voice develops in the way it has so far. Opera houses around the world must be getting their finances in order to prepare for those Ring cycles they will inevitably lay before her. On this vocal evidence the prospect of her in these roles is an exciting one. Experienced opera lovers know, however, that things don’t always works out as we expect them to. There is always the tenor to cast as well. A top Isolde as well as a legendary Brünnhilde needs her Tristan and Siegfried. All we can do is pray to the opera gods that these variables align perfectly. Thanks to Decca in the meantime for releasing this Flying Dutchman,caught on the high seas as it were, last year in Oslo. I am glad to be able to hear it.

Philip Harrison

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