入门瓦格纳的荷兰人是从索尔第的录音开始的,那时从海淀以90元的价格购入了一套他在DECCA的打口盘,一听便迷死了,但是因为是打口所以后来就出了,想正式买一套.以前曾经在外文见过一个萨瓦利什的版本,但是去找的时候已经没有了.后来在广州李源处偶尔看到了一个TESTAMENT公司出的凯尔贝特的一个版本,以为就是那个著名的TELDEC的版本,于是就买了,后来才发现此录音非彼录音,这个是立体声,那个是单声道.而且这个录音是第一次以正规的商业途径发行,应该还是比较珍贵的.今天看到了爱乐最近出的一期关于瓦格纳的专辑,里面介绍了荷兰人权威唱片,就有这套.才出现不到一年,就已经超越许多已经在市面上存在很久的版本跻身于那些编辑们认为的最优秀的版本之中,可见此套唱片的功力之深.
我当时听的感觉其实也是很震撼的,似乎听出了一种非常正宗的瓦格纳味道,只是觉得处理有时候比较粗暴,但是现在想想,这也许才正是瓦格纳音乐的精神所在吧,太精致的演奏反而不好,今天又听了听,的确非常不错,而且据三联的那些人说,这个版本的阵容是超级豪华的,看来当初是买对了,难怪当时TESTAMENT的凯尔贝特系列一发行就一片叫好之声.现在只有这么一个版本,
现在是网站上摘录的一些录音信息:
1955年到1956年的两年间，指挥家约瑟夫·凯尔贝特（Joseph Keilberth，1908–1968）在拜鲁特音乐节两度留下瓦格纳歌剧《漂泊的荷兰人》的录音（1956年版有Myto和Golden Melodram版），其中，1955年那场演出，由Decca以当时刚开发出来的立体声技术，进行现场录音，在LP时代曾有过商业发行，根据HMV的新片讯息，这个传说中的立体音源，由Testament发行正规盘，与CD时代的乐迷见面。事实上，在多年前，Teldec在该厂的历史录音系列中，已经将凯伯特这个1955年的《漂泊的荷兰人》CD化，但那时候发行的是mono版，而且用的是恶名昭彰的杂音滤除系统，绝版许久，市面上难以购得。根据网路讯息显示，有家叫Dela Voce Luna的厂牌曾推出过立体声版，如果属实，Testament只能算是首度推出官方授权版。但无论如何，我们都很感谢该厂牌搜寻各家大厂的宝库不遗餘力，包括逐步发行的凯伯特1955年《尼伯龙根的指环》全集，Testament让一些伟大演奏者的传奇录音，能在半个多世纪后的今天苏醒。
亚马孙的评论:
Cantrell:
SOURCE: Live performance at the Bayreuth Festival in 1955. SOUND: In general, Bayreuth performances throughout the 1950s were well-recorded, just as in general, performances from the Salzburg Festival during the same decade were not. Why this should be, I have no idea, but it is a good rule of thumb, nevertheless. This "Flying Dutchman" is no exception to the rule. The solo voices and the chorus are very nicely caught and correctly balanced against the orchestra hidden away as Wagner intended in the covered pit. I think this set captures the unique sonic ambience of the Festspielhaus as well as any recording of its time. Since this is a live performance, there is a certain inevitable amount of foot stomping. The spinning chorus at the beginning of Act II is accompanied by a number of authentically clacking, clattering spinning wheels. Equally authentically, the laws of physics seem to prohibit the wheels from clacking and clattering in time to Wagner's music. The fiercely disciplined audience discloses its existence only at the very end when it bursts into applause. If you insist on seeking them out, you can hear some tape hiss, a few joins of the old analogue tapes and a couple of fleeting moments of drop off when a singer enters a partial sonic dead spot. Of course, if you hear all that, you've been so busy listening to the sound that you probably haven't heard the performance. CAST: Der Hollaender, a cursed sea-rover - Hermann Uhde (baritone); Dalland, a Norwegian sea captain - Ludwig Weber (bass); Der Steuermann, Dalland's sleepy-headed steersman - Josef Traxel (tenor); Senta, Dalland's daughter, a young woman much taken by a portrait of s storm-blown voyager - Astrid Varnay (soprano); Mary - Elisabeth Schaertel (mezzo-soprano). CONDUCTOR: Joseph Keilberth with the Bayreuth Festival Orchestra and Chorus. COMMENTARY: This is as good a performance of "Der fliegende Hollaender" as we are ever likely to get. Fans may praise one famous performance or another as its equal, but there is no better one on record. I base that rather grandiose claim on the fact that this performance has it all: a conductor who remains true throughout to Wagner the composer and to Wagner the man of the theater, a remarkably strong cast of singing actors and an unswerving adherence to the dramatic arc of the piece. When I had finished listening to this set for the first time, I dug out my old copy of Karajan's 1980s version for comparison--and in order to determine whether Herr Doktor von K's outing was as really as feebly cast and bullishly wrong-headed as I had remembered. (It was.) I generally agree with the comments about the cast made by Mr. Steinberg in the previous review, although I am willing to give a little more praise to Rudolf Lustig's Erik. The Dutchman's would-be rival is, after all, a rather rough and ready character at best and I think it makes good dramatic sense for him to sound a bit frazzled. Good as the other singers are, the real star is the wonderful Astrid Varnay. Senta is usually regarded as being a less demanding role than her Wagnerian sisters, so she tends to be cast with sopranos of lighter heft. Varnay, of course, outclasses them all, for not only is she a full-fledged Brunnhilda, but a great one to boot. Senta, with the likes of Varnay singing, is a true star part! Some purists may object that Uhde seems a bit strained on his highest notes and Varnay occasionally sounds a little thick. I can only reply that these failings are few and far between, and that they are trifiling compared to the remarkable overall levels of performance. It has long been fashionable to be loftily dismissive toward conductor Joseph Keilberth. The Good Grey Grammophone Magazine has called him "Kapellmeister" and "routineer." Whatever the merits of that, I can't recall any opera recorded by him that was less than first rate. When Keilberth conducted, what emerged tended toward the intentions of the composer, not the idiosyncratic demands of an egotistical baton-wielder. Five wild and storm-driven stars. Jojohoe!
Ralph Steinberg:
This is another great issue from the 1955 Keilberth Bayreuth series. I have already commented on the overwhelming power of his "Rheingold" and "Walkuere" (I have no doubt that the res of the 1955 Ring will be of equal quality and will be the ESSENTIAL Ring), and the same goes for this Dutchman. The Overture sets the stage for a vigorous, weighty, but not elephantine interpretation, with the scent of salty sea air and thunderclouds just jumping out at the listener. As for the cast, the title role, sung by Hermann Uhde, is perfectly rendered. Uhde had a leaner, perhaps smaller voice than Hotter, but has the same intensity and sensitivity; what a shame that he never was properly appreciated in his lifetime! His is certainly one of the three best Dutchmen on record (Hotter and Fischer-Dieskau are the other two). Weber's Daland likewise is as fine as Frick's and very close to Hann's. Traxel is one of the the best Steersmen (The other is Wunderlich) and Schaertel is a lovely Mary; only Lustig's Erik sounds a bit worn and unromantic (Lustig is a great Loge in the Keilberth "Rheingold", by the way). He is by no means bad, but certainly falls short of Windgassen in the Knappertsbusch from the same festival and Schock in the Fischer-Dieskau/Konwitchny set. But one role here is simply in a class by itself: The Senta of Astrid Varnay. No other Senta on CD or LP can match the power of her delivery and its raw passion. Recordingwise, this is another great set from 1955 Bayreuth. I would never want to give up the Krauss or Konwitchny sets, but if I had to pick one "Flying Dutchman" that really storms the seas and makes the case for the superiority of live performances, this would be it. BAYREUTH RULES FOREVER!
Steven Muni
While there are many excellent recordings of The Flying Dutchman in existence, this is one of the best. Joseph Keilberth was a seriously underappreciated Wagnerian conductor who led his operas with drive and passion, keeping the momentum but never sacrificing musical values. You get the feeling Keilberth valued the music above all, rather than his own egocentric interpretation. Hermann Uhde is a tortured and magnificent Dutchman, even if he perhaps he doesn't have the vocal magnificence of a George London or Simon Estes. But the reason to buy this recording is the incredible performance of the late great Wagnerian singing actress, Astrid Varnay. Varnay, who was at the top of her form when she made this recording, had a large, powerful, sometimes somewhat unwieldy dramatic soprano, with a touch of mezzo warmth to her voice--and was one of the great Brunhildes of the post-World War II period. The first American soprano to sing at Bayreuth, she was also a superb actress, both physically (it was said she could dominate the stage just by sitting still) and vocally, which comes across in this recording. Her duets with Uhde are just breathtaking. And when you consider that she's competing with other superb Sentas like Anja Silja and Leonie Rysanek, that's saying something. The other cast members are excellent--with perhaps only Rudolf Lustig sounding a little wooden as Erik. The chorus is intensely exciting, the Bayreuth Orchestra plays with vibrant energy, and the recording quality is excellent, given its time. And given the reasonable price, this recording should be in everyone's collection.
9/4,2008
我当时听的感觉其实也是很震撼的,似乎听出了一种非常正宗的瓦格纳味道,只是觉得处理有时候比较粗暴,但是现在想想,这也许才正是瓦格纳音乐的精神所在吧,太精致的演奏反而不好,今天又听了听,的确非常不错,而且据三联的那些人说,这个版本的阵容是超级豪华的,看来当初是买对了,难怪当时TESTAMENT的凯尔贝特系列一发行就一片叫好之声.现在只有这么一个版本,
现在是网站上摘录的一些录音信息:
1955年到1956年的两年间，指挥家约瑟夫·凯尔贝特（Joseph Keilberth，1908–1968）在拜鲁特音乐节两度留下瓦格纳歌剧《漂泊的荷兰人》的录音（1956年版有Myto和Golden Melodram版），其中，1955年那场演出，由Decca以当时刚开发出来的立体声技术，进行现场录音，在LP时代曾有过商业发行，根据HMV的新片讯息，这个传说中的立体音源，由Testament发行正规盘，与CD时代的乐迷见面。事实上，在多年前，Teldec在该厂的历史录音系列中，已经将凯伯特这个1955年的《漂泊的荷兰人》CD化，但那时候发行的是mono版，而且用的是恶名昭彰的杂音滤除系统，绝版许久，市面上难以购得。根据网路讯息显示，有家叫Dela Voce Luna的厂牌曾推出过立体声版，如果属实，Testament只能算是首度推出官方授权版。但无论如何，我们都很感谢该厂牌搜寻各家大厂的宝库不遗餘力，包括逐步发行的凯伯特1955年《尼伯龙根的指环》全集，Testament让一些伟大演奏者的传奇录音，能在半个多世纪后的今天苏醒。
亚马孙的评论:
Cantrell:
SOURCE: Live performance at the Bayreuth Festival in 1955. SOUND: In general, Bayreuth performances throughout the 1950s were well-recorded, just as in general, performances from the Salzburg Festival during the same decade were not. Why this should be, I have no idea, but it is a good rule of thumb, nevertheless. This "Flying Dutchman" is no exception to the rule. The solo voices and the chorus are very nicely caught and correctly balanced against the orchestra hidden away as Wagner intended in the covered pit. I think this set captures the unique sonic ambience of the Festspielhaus as well as any recording of its time. Since this is a live performance, there is a certain inevitable amount of foot stomping. The spinning chorus at the beginning of Act II is accompanied by a number of authentically clacking, clattering spinning wheels. Equally authentically, the laws of physics seem to prohibit the wheels from clacking and clattering in time to Wagner's music. The fiercely disciplined audience discloses its existence only at the very end when it bursts into applause. If you insist on seeking them out, you can hear some tape hiss, a few joins of the old analogue tapes and a couple of fleeting moments of drop off when a singer enters a partial sonic dead spot. Of course, if you hear all that, you've been so busy listening to the sound that you probably haven't heard the performance. CAST: Der Hollaender, a cursed sea-rover - Hermann Uhde (baritone); Dalland, a Norwegian sea captain - Ludwig Weber (bass); Der Steuermann, Dalland's sleepy-headed steersman - Josef Traxel (tenor); Senta, Dalland's daughter, a young woman much taken by a portrait of s storm-blown voyager - Astrid Varnay (soprano); Mary - Elisabeth Schaertel (mezzo-soprano). CONDUCTOR: Joseph Keilberth with the Bayreuth Festival Orchestra and Chorus. COMMENTARY: This is as good a performance of "Der fliegende Hollaender" as we are ever likely to get. Fans may praise one famous performance or another as its equal, but there is no better one on record. I base that rather grandiose claim on the fact that this performance has it all: a conductor who remains true throughout to Wagner the composer and to Wagner the man of the theater, a remarkably strong cast of singing actors and an unswerving adherence to the dramatic arc of the piece. When I had finished listening to this set for the first time, I dug out my old copy of Karajan's 1980s version for comparison--and in order to determine whether Herr Doktor von K's outing was as really as feebly cast and bullishly wrong-headed as I had remembered. (It was.) I generally agree with the comments about the cast made by Mr. Steinberg in the previous review, although I am willing to give a little more praise to Rudolf Lustig's Erik. The Dutchman's would-be rival is, after all, a rather rough and ready character at best and I think it makes good dramatic sense for him to sound a bit frazzled. Good as the other singers are, the real star is the wonderful Astrid Varnay. Senta is usually regarded as being a less demanding role than her Wagnerian sisters, so she tends to be cast with sopranos of lighter heft. Varnay, of course, outclasses them all, for not only is she a full-fledged Brunnhilda, but a great one to boot. Senta, with the likes of Varnay singing, is a true star part! Some purists may object that Uhde seems a bit strained on his highest notes and Varnay occasionally sounds a little thick. I can only reply that these failings are few and far between, and that they are trifiling compared to the remarkable overall levels of performance. It has long been fashionable to be loftily dismissive toward conductor Joseph Keilberth. The Good Grey Grammophone Magazine has called him "Kapellmeister" and "routineer." Whatever the merits of that, I can't recall any opera recorded by him that was less than first rate. When Keilberth conducted, what emerged tended toward the intentions of the composer, not the idiosyncratic demands of an egotistical baton-wielder. Five wild and storm-driven stars. Jojohoe!
Ralph Steinberg:
This is another great issue from the 1955 Keilberth Bayreuth series. I have already commented on the overwhelming power of his "Rheingold" and "Walkuere" (I have no doubt that the res of the 1955 Ring will be of equal quality and will be the ESSENTIAL Ring), and the same goes for this Dutchman. The Overture sets the stage for a vigorous, weighty, but not elephantine interpretation, with the scent of salty sea air and thunderclouds just jumping out at the listener. As for the cast, the title role, sung by Hermann Uhde, is perfectly rendered. Uhde had a leaner, perhaps smaller voice than Hotter, but has the same intensity and sensitivity; what a shame that he never was properly appreciated in his lifetime! His is certainly one of the three best Dutchmen on record (Hotter and Fischer-Dieskau are the other two). Weber's Daland likewise is as fine as Frick's and very close to Hann's. Traxel is one of the the best Steersmen (The other is Wunderlich) and Schaertel is a lovely Mary; only Lustig's Erik sounds a bit worn and unromantic (Lustig is a great Loge in the Keilberth "Rheingold", by the way). He is by no means bad, but certainly falls short of Windgassen in the Knappertsbusch from the same festival and Schock in the Fischer-Dieskau/Konwitchny set. But one role here is simply in a class by itself: The Senta of Astrid Varnay. No other Senta on CD or LP can match the power of her delivery and its raw passion. Recordingwise, this is another great set from 1955 Bayreuth. I would never want to give up the Krauss or Konwitchny sets, but if I had to pick one "Flying Dutchman" that really storms the seas and makes the case for the superiority of live performances, this would be it. BAYREUTH RULES FOREVER!
Steven Muni
While there are many excellent recordings of The Flying Dutchman in existence, this is one of the best. Joseph Keilberth was a seriously underappreciated Wagnerian conductor who led his operas with drive and passion, keeping the momentum but never sacrificing musical values. You get the feeling Keilberth valued the music above all, rather than his own egocentric interpretation. Hermann Uhde is a tortured and magnificent Dutchman, even if he perhaps he doesn't have the vocal magnificence of a George London or Simon Estes. But the reason to buy this recording is the incredible performance of the late great Wagnerian singing actress, Astrid Varnay. Varnay, who was at the top of her form when she made this recording, had a large, powerful, sometimes somewhat unwieldy dramatic soprano, with a touch of mezzo warmth to her voice--and was one of the great Brunhildes of the post-World War II period. The first American soprano to sing at Bayreuth, she was also a superb actress, both physically (it was said she could dominate the stage just by sitting still) and vocally, which comes across in this recording. Her duets with Uhde are just breathtaking. And when you consider that she's competing with other superb Sentas like Anja Silja and Leonie Rysanek, that's saying something. The other cast members are excellent--with perhaps only Rudolf Lustig sounding a little wooden as Erik. The chorus is intensely exciting, the Bayreuth Orchestra plays with vibrant energy, and the recording quality is excellent, given its time. And given the reasonable price, this recording should be in everyone's collection.
9/4,2008
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