Cher Public

Broadcast: Der Fliegende Holländer

More Wagner listening excitement this afternoon at 1:00 PM, cher public, on the Met’s Saturday afternoon broadcast.

  • grimoaldo2

    Thrilling account of the fabulous overture despite some brass flubs and ragged ensemble.

    • grimoaldo2

      wow, titanic effect from orchestra

      • Camille

        Super High Octane in someone’s tank, I’ll say.

        • Batty Masetto

          Just watching the score, I’m seeing a lot of points where he has the violins bowing on each note where there’s nothing special indicated -- certainly adds tension

          • Camille

            Interesting. Thank you for noticing that bit. I put the score down and went into another room.

            Dammit hut I het this girl could sing this in the original key and it might even brighten up the sound.

            What a cruel thing to make the tenor come in on an A. !

    • Olivero Fan

      The brass were mighty splatty at the prima as well.

  • Batty Masetto

    Volle has a curious tinge of Theo Adam that I’ve never heard in his voice before

    • grimoaldo2

      that’s a good thing to have a tinge of imo .I am really enjoying the way Volle is performing this great monologue.

    • Camille

      That’s an interesting thought but I wish I could recall Adam’s voice a little more clearly.

  • Peter

    Applause after “die frist ist um” :-)

  • I don’t think I have ever encountered applause for the Dutchman’s opening monolog before. It took Mr. Volle a fair while to get the voice settled down but he certainly got the self loathing out with some real force at the end.

    • Margarita Miranda Mitrov

      Exactly. Thrilling!

  • Batty Masetto

    Volle is certainly nuancing the text expertly -- “Es leidet keinen Schaden” sounds regretful! (he’s sorry he can’t sink his ship)

    • ER

      I too was surprised by the applause but the conductor just ended the scene so abruptly that it kind of led to it organically.

  • ER

    Is that Amber Wagner we just heard?

    • Margarita Miranda Mitrov

      Dolora Zajick.

      • Margarita Miranda Mitrov

        Now, Amber Wagner.

        • ER

          sounds like a big juicy voice (at least over the airwaves).

          I’m always surprised by how many singers say they find this role particularly difficult. It’s not that long (by Wagner standards) or heavy and it doesn’t require the force of personality that a Kundry or Brunnhilde does.

          • Camille

            Oh yeah? You might want to speak to Leonie Rysanek about that!

          • Margarita Miranda Mitrov

            This is Amber Wagner discussing the vocal challenges of singing Senta in a recent interview (Operawire):
            “So Senta presents some unique challenges.

            “Everything seems to be incredibly exposed. So I have to be very careful. The challenge is that she comes on stage in Act two and she starts with this ballad and it’s rather low in comparison to the rest of the role. So it’s a challenge to almost under-sing that aria to save your resources for this very taxing and very long duet that’s coming up with the Dutchman.”

            • ER

              thanks! very illuminating.

          • grimoaldo2

            The music does not seem to hold any terrors for Amber!

            • Batty Masetto

              No it really doesn’t. Juicy sound. I only wish her German pronunciation were better :-(

          • In addition to the exposed writing, the tessitura of the role moves higher as the opera progresses. So, as the singer is getting more tired, the lines are going higher.

      • gromek

        Sounding very good so far.

  • This broadcast is great stuff so far.

    • Margarita Miranda Mitrov

      Absolutely enjoying it!

  • Batty Masetto

    How I wish these fine American singers could really master German pronunciation – they’re really really good, but then they’ll make these weird non-German noises in the midst of things

    • Camille

      Batty--it just sounds to me as if she is doing the typical appliqué of “appropriate” German style singing sounds, after the fact, and just not pronouncing the word fully and then going through THAT to the tone. Hard to explain but that is what I hear so much from los gringos. She has a big voice too and probably has been taught to modify to accommodate certain sounds.

      • Batty Masetto

        That makes sense -- it’s not nearly as bad as Joanie’s distortions back in the day, but it’s a bit distracting. And I hear it a lot lately from Americans. (It can’t be essential to vocal production, because it doesn’t even occur to Germans to ever go there.)
        Also a gorgeous duet between the two of them, though.

        • ER

          the voice, and the middle in particular, has a nice glow to it. I haven’t seen her live ever-- for those who have, how big is the voice?

          • Portia Minty

            It’s a very big voice. Tremendous enveloping sound with no sense of pushing. I heard her opening night of this run.

  • Peter

    The vibrancy in Wagner’s tone turns white at the very top.

  • grimoaldo2

    I love this scene with the sailors’ chorus and ghostly crew!

    • Batty Masetto

      Some of this showed up in the Addams Family movies I’m pretty sure :-)

  • grimoaldo2

    Terrific! Great to hear a world class performance from the Met again!

    • Batty Masetto

      Yes, that was good stuff

    • Margarita Miranda Mitrov

      Indeed.

  • Rowna Sutin

    I was in the house and there were ups and downs. Mainly the staging was so bad that it came close to ruining if for me. I just don’t understand all these negative comments about YNS and A Wagner. Just can’t imagine what standards people are holding everyone up to.

    • Cicciabella

      Rowna, how wonderful that you heard this live! I’m very much looking forward to your video review. I heard the broadcast: no intermission, what a treat! (Maybe not such a treat in the theatre.) In spite of the fact that neither the orchestra nor the chorus were in perfect sync, it was such an exciting broadcast, as many have said. Wagner’s voice is pure luxury. I was looking forward to hearing live recently, but she cancelled. I’ve had the pleasure of hearing Volle live and he’s such an intelligent singer and the voice is so rich in nuance. His Dutchman was so fascinating: seductive and a little bit scary. The rest of the cast was also worth listening to. Have fun reviewing!

      • aulus agerius

        Yesterday I listened to my recording of a performance last year I attended with Wagner as Ariadne. She was better than I remembered but her colleagues were all subpar and of course that effected the experience. Then I listened to another performance I attended with Goerke in that role. It was even better than I remembered, and all of her colleagues including the maestro were excellent. This is the one with Alexey Dolgov as Bacchus and he sang his role in its entirety without cracks or audible strain up to the last magnificent descending phrase!

        • Cicciabella

          That must have been some performance! Aren’t we lucky to have, in our time, singers like Goerke and Wagner! And a Bacchus who is up to the role…

    • aulus agerius

      Thank you, Rowna. Always enjoy your offerings and this one was special!

      • Rowna Sutin

        Thank you!

  • Rowna Sutin

    I have done very few of these this year: get out your slings and arrows: https://www.youtube.com/watch?v=5M1xvC3yRIc&t=25s

    • You tell them, Rowna.

      • Rowna Sutin

        Thanks, pal!

    • Brava Rowna! I just wanted to comment on your observation that the chorus was either ahead of or behind the orchestra in the third act and that some idiots blamed maestro Nézet-Séguin. Have you even been on the Met’s stage? Having spent hundreds of hours there rehearsing and performing 40 years ago, the first word I use to describe it is huge! It is just vast! Of course, so is the auditorium. I’ve been on the stages of New York State Theater, Wiener Staatsoper, Theater an der Wien, La Scala, the Palais Garnier, the War Memorial in San Francisco, the Felsenreitschule at Salzburg, and many others and none of them come close to the insane size of the Met. Accordingly, as I quickly discovered, one cannot always see the conductor. There were assistant conductors and stage managers stationed in the wings conducting offstage musicians – be it a stage band, a chorus, or the Sacerdotessa in “Aida” – who follow the conductor on video monitors. Some productions are so vast that small monitors are actually hidden in the scenery so you can grab a glimpse of what’s happening in the pit even if it’s out of your sight range. This is one reason why
      such slip-ups occur at the Met: all it takes is a small mistake by backstage personnel to let a chorus get ahead or fall behind, and then try to find and get back on the beat (prompters help, too). They use flashlights to conduct. Given the size of the stage, the physical density of some productions, plus the lighting and any other effects (I believe you mentioned fog), it can be impossible to see as far as the podium. There were also larger monitors on both sides of the proscenium, but these can be difficult to see as well. As I said, this was back in the 1970s, so some things might have changed since then… but maybe not.

      • Rowna Sutin

        Thanks! Yes, I know how hard it is to coordinate. I haven’t ever sung on a stage as vast as the Met’s but I am aware of the tricky coordination problems between onstage and the pit. How bout off stage choruses and instruments? Or ones in the rafters? They are all hard. The Met (and other large houses) should really have their “tuttis” roundly applauded all the time :)

    • Cicciabella

      Refreshingly honest! One of your best vlogs yet, Rowna.

      There are so many Dutchman productions about, surely the Met con buy one and adapt it if this one’s so crummy?

      • Rowna Sutin

        Thanks Ciccia. My thoughts exactly. Wagner merits at least a decent production.

    • Camille

      If I had some of them roses of YN’S’s, I’d pelt you with them! That damnably FUGLY production has been around waaaaaaay toooo long now and it’s about time for. a *Regie Rehaul*. I’ve seen it two or three times and don’t remember a damn thing about it except that it’s a very foggy night somewhere. At least they got rid of that ugly wig for Senta!