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Richard Wagner Der Fliegende Holländer Wolfgang Sawallisch

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Richard Wagner Der Fliegende Holländer Wolfgang Sawallisch Richard Wagner Der fliegende Holländer LIVE London · Rysanek · Uhl Greindl · Paskuda · Fischer Chor und Orchester der Bayreuther Festspiele Wolfgang Sawallisch ORFEO D’OR Live Recording 5. August 1959 „Bayreuther Festspiele Live“. Das Inte- resse der Öffentlichkeit daran ist groß, die Edition erhielt bereits zahlreiche in- ternationale Preise. Die Absicht aller Be- teiligten ist nichts weniger als Nostalgie oder eine Verklärung der Vergangen- Das „neue Bayreuth“, wie es seit 1951 heit, vielmehr die spannende Wieder- von Wieland und Wolfgang Wagner be- entdeckung großartiger Momente der gründet und erfolgreich etabliert wur- Festspiele. Die sorgfältig erarbeitete de, suchte von Anfang an gezielt die Herausgabe der Mitschnitte soll erin- Vermittlung durch die damals existie- nern und vergegenwärtigen helfen, renden Medien, vor allem den Hörfunk indem musikalische Highlights aus der und die Schallplatte. Die Live-Übertra- Aufführungsgeschichte der Bayreuther gungen im Bayerischen Rundfunk und Festspiele wieder zugänglich gemacht angeschlossenen Sendern in Deutsch- und nacherlebbar werden. land, Europa und Übersee entwickelten sich binnen kurzer Zeit zu einem festen Bestandteil der alljährlichen Festspiele – und sind es bis heute geblieben. Nicht Katharina Wagner, zuletzt wird dadurch vielen Wagneren- Festspielleitung thusiasten weltweit eine zumindest akustische Teilnahme am Festspielge- schehen ermöglicht. Zugleich wurden Since its inception in 1951, ‚New Bay- und werden damit die künstlerischen reuth‘, founded and successfully run Leistungen der Bayreuther Festspiele by Wieland and Wolfgang Wagner, at- dokumentiert und für das kulturelle Ge- tached importance to communicat- dächtnis aufbewahrt. ing with its audience via the channels Seit 2003 veröffentlichen ORFEO und available at the time, principally ra- die Bayreuther Festspiele gemein- dio and the gramophone record. Live sam erfolgreich eine Reihe herausra- broadcasts on Bayerischer Rundfunk gender und singulärer historischer Ori- and affiliated radio stations in Germa- ginalaufnahmen aus dem Archiv des ny, Europe and overseas soon came to Bayerischen Rundfunks unter dem Titel be an integral part of the annual festi- val – and remain so today. The trans- qui devait l’être, en faisant appel aux missions allow many Wagner enthu- moyens de communication existants, siasts around the world to be at least essentiellement la radio et le disque. aurally present at the festival. They al- Les retransmissions en direct, confiées à so mean that the Bayreuth Festival‘s la Radiodiffusion bavaroise et relayées artistic accomplishments are docu- par différentes stations allemandes et mented and preserved for posterity. étrangères, se développèrent rapide- Since 2003, ORFEO and the Bayreuth ment au point de compter parmi les Festival have jointly released a num- priorités du festival – ce qui est toujours ber of unique original recordings of ex- le cas aujourd’hui. Elles permettent no- ceptional quality from the Bayerischer tamment à d’innombrables passionnés Rundfunk archives in a series entitled de Wagner de par le monde d’écou- ‚Bayreuther Festspiele Live‘. The inter- ter ses représentations. Ces captations est among the record-buying public sont ensuite archivées et constituent la is considerable and the series has al- mémoire sonore du festival. ready won many international awards. Depuis 2003, ORFEO et le Festival de The motive of all those involved is noth- Bayreuth co-éditent une série d’en- ing less than nostalgia or exaltation of registrements particulièrement mar- the past, but instead the fascination of quants de la Radiodiffusion bavaroise, rediscovering great moments from the intitulée Bayreuther Festspiele Live. festival. The carefully prepared release Cette série a suscité un vif intérêt au- of these live recordings is intended to près des mélomanes et ses enregistre- make it possible once again to expe- ments ont obtenu quantités de prix et rience previously inaccessible musical distinctions à travers le monde. Le but highlights from the performance histo- de l’entreprise est moins de susciter la ry of the Bayreuth Festival. nostalgie d’un passé glorieux que de permettre la redécouverte de mo- ments mémorables du festival. La publi- cation de ces documents légendaires, Le Nouveau Bayreuth, dont Wieland soigneusement restaurés, est une invi- et Wolfgang Wagner jetèrent les bases tation à nous pencher sur le passé et en 1951 et assurèrent ensuite le succès, à l’appréhender dans une perspective s’efforça, dès le début, de diffuser ce actuelle. BAYREUTHER FESTSPIELE 5. August 1959 Festspielhaus Der fliegende Holländer Romantische Oper in drei Aufzügen Text und Musik von RICHARD WAGNER Daland . Josef Greindl ein norwegischer Seefahrer Senta, seine Tochter ...................................... Leonie Rysanek Erik, ein Jäger ............................................................. Fritz Uhl Mary, Sentas Amme ............................................. Res Fischer Der Steuermann Dalands ..............................Georg Paskuda Der Holländer ............................................... George London Chor und Orchester der Bayreuther Festspiele Wolfgang Sawallisch Josef Greindl Leonie Rysanek Fritz Uhl (1912–1993) (1926–1998) (1928–2001) Daland Senta Erik Res Fischer Georg Paskuda George London (1896–1974) (1926–2001) (1919–1985) Mary Steuermann Der Holländer Wilhelm Pitz Wieland Wagner Wolfgang Sawallisch (1897 – 1973) (1917–1966) (1923 – 2013) Choreinstudierung Regisseur Dirigent Richard Wagner – Ur- und Erstaufführungen in Bayreuth First Performances and First Performances in Bayreuth Créations et Premières à Bayreuth 1876 Der Ring des Nibelungen (Das Rheingold – EA, Die Walküre – EA, Siegfried UA, Götterdämmerung UA) 1882 Parsifal – UA 1886 Tristan und Isolde – EA 1888 Die Meistersinger von Nürnberg – EA 1891 Tannhäuser – EA 1894 Lohengrin – EA 1901 Der fliegende Holländer – EA CD 1 49’10 1 Ouvertüre 9’40 Erster Aufzug 2 Johohe! Halloho! 4’59 Matrosen · Daland · Steuermann 3 Mit Gewitter und Sturm aus fernem Meer 4’34 Steuermann 4 Die Frist ist um 10’57 Holländer · Mannschaft des Holländers 5 He! Holla! Steuermann 4’05 Daland · Steuermann · Holländer 6 Durch Sturm und bösen Wind verschlagen 10’47 Holländer · Daland 7 Südwind! Südwind! 2’02 Steuermann · Matrosen · Daland · Holländer 8 Mit Gewitter und Sturm aus fernem Meer 2’00 Matrosen CD 2 77’42 Zweiter Aufzug 1 Summ und brumm, du gutes Rädchen 8’17 Mädchen · Mary · Senta 2 Johohoe! Traft ihr das Schiff im Meere an 8’01 Senta · Mädchen · Mary 3 Senta! Senta! Willst du mich verderben? 9’43 Erik · Senta · Mädchen · Mary 4 Auf hohem Felsen lag ich träumend 4’37 Erik · Senta 5 Mein Kind, du siehst mich auf der Schwelle 1’08 Daland · Senta 6 Mögst du, mein Kind, den fremden Mann 5’49 willkommen heißen Daland 7 Wie aus der Ferne längst vergang’ner Zeiten 5’34 Holländer · Senta 8 Wirst du des Vaters Wahl nicht schelten? 7’43 Holländer · Senta 9 Verzeiht! Mein Volk hält draußen sich nicht mehr 1’48 Daland · Senta · Holländer Dritter Aufzug 10 Steuermann, laß die Wacht! 9’38 Matrosen des Norwegers · Mädchen · Steuermann 11 Johohohe! Johohohoe! Hoe! Hoe! 3’30 Mannschaft des Holländers · Matrosen des Norwegers 12 Was muß ich hören! 2’16 Erik · Senta 13 Willst jenes Tags du nicht dich mehr entsinnen 2’30 Erik 14 Verloren! Ach! Verloren! 1’36 Holländer · Erik · Senta 15 Erfahre das Geschick, vor dem ich dich bewahr’! 5’25 Holländer · Erik · Senta · Daland · Mary · Chor Magischer Realismus Neu-Bayreuth ist wieder romantisch der zehn Festspielwerke in Neu- geworden – so oder ähnlich verein - Bayreuth abschloss. Dies wurde fachend tönten manche Schlag- mehrfach zum Anlass genommen, zeilen der Presse als Fazit zu Wieland konzeptionelle Fragen zu erörtern, Wagners Neuinszenierung des Flie- ob es in Bayreuth künftig etwa al- genden Holländers 1959, und was lein mit der Vervollkommnung des bei einigen der etwa 100 Premie - Erreichten weitergehen solle oder ren-Rezensenten verwundert, ver- ob grundsätzlich Überlegungen unsichert, sogar verstört klang, Raum gegeben werden könne, das las sich bei anderen wie Erleich - Festspielhaus auch anderen Re- terung und freudiger Jubel. Wie- gisseuren und Stilen zu öffnen, ob land Wagner inszenierte den ‚Flie - womöglich sogar Aufführungen genden Holländer’ mit Meeres- von geeigneten Werken anderer wogen und Schiffsplanke, mit rea- Komponisten denkbar wären. Be - listischer Spinnstube und einem sonders prononciert-kritisch äußerte Geisterchor, der geradewegs vom sich Kurt Honolka: Die Automatik Mars zu kommen schien. Diese Um - des alljährlichen Regisseurwech - kehr des nun schon gewohnten Bay- sels zwischen den beiden Wagner- reuther Stils war wohl die größte Enkeln verspricht kaum mehr wirk - Überraschung, die die diesjährigen liche künstlerische Impulse, Blut- Festspiele auf dem Grünen Hügel auffrischung tut not. Wie das Sän - bieten konnten. Es war eine kleine gerensemble und die Dirigenten Sensation. Wieland weiß, was er ständig erneuert würden, so sollten seinen Besuchern schuldig ist (Hans die Hausherren auf ihr Inszenato - Lehmann). Die Eröffnung der neun- renmonopol verzichten und mit ten Festspiele nach ihrem denk- bedeutenden Regisseuren und würdigen Wiederbeginn im Jahr Bühnenbildnern von außerhalb 1951 war wie üblich mit großer des Familienkreises, gleich wel - Spannung erwartet worden, ver - cher Richtung und Nation, in Wett - stärkt noch dadurch, dass Wieland streit treten. Ob aus Ärger oder mit Wagner mit der Holländer-Insze- Ironie, in einem Telegramm baten nierung die Reihe
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