This recording is of Wagner’s first version of Dutchman, the version that was finished in Paris in 1841 in which the action is set in Scotland and some of the characters are differently named (Erik is Georg; Daland is Donald). The overture and final moments do not include the “redemption” music, and at various points throughout the score there are bits of orchestration and word-setting that are different. But most urgently, the performances in Cologne from June, 2004, from which this recording was put together, used period instruments, so the textures as we know them are very different indeed. Both valved and natural trumpets and horns are used, and the effect is fascinating. It’s a pity the performance isn’t very good.
Conductor Bruno Weil has no particular point of view; he makes this relatively clear in a comment in the accompanying booklet when he says, with regard to his (quick) tempos, that “the concept of ‘interpretation'” did not exist in the 19th century. This is nonsense–were personality, critical intelligence, and free will invented decades later? Tell that to Giuditta Pasta, let alone Verdi.
At any rate, what we get is a group of mostly competent singers and players who are presenting a document to us–with an occasional emotive moment slipping by. Terje Stensvold’s Dutchman is matter-of-fact. His lightish voice is not the problem–since everything here is slimmed down, a great Mozartian could be singing the part–but he whizzes through “Die Frist ist um”, seems totally disengaged in his meeting with Senta in Act 2, and shows no menace or pain near the opera’s close. Astrid Weber, judging by her Senta, is a singer to forget: her tone is hard and ugly above the staff, acceptable for three-or-so notes below it, and almost non-existent at the bottom. Tenor Jörg Dürmüller sings Georg/Erik with some passion, but he’s soon forgotten, and the fine Handelian Kobie van Rensburg turns in a rare poor performance as the Steersman. Best are Franz-Josef Selig as Daland/Donald, who seems to “get” the character’s dual nature despite not delving very deeply, and Simone Schröder’s Mary, which is well sung. The orchestra plays well. This is a wash-out; an important example poorly presented.
