[Met Performance] CID:192890



Der Fliegende Holländer
Metropolitan Opera House, Fri, January 11, 1963




Der Fliegende Holländer (61)
Richard Wagner | Richard Wagner
Dutchman
George London

Senta
Leonie Rysanek

Erik
Sándor Kónya

Daland
Giorgio Tozzi

Mary
Lili Chookasian

Steersman
George Shirley


Conductor
Karl Böhm


Director
Herbert Graf

Set Designer
Robert Edmond Jones

Set Designer
Charles Elson

Costume Designer
Mary Percy Schenck

Stage Director
Hans Busch





Der Fliegende Holländer received seven performances this season.

Review 1:

Review of Michael Brozen in Musical America
Wagner's “Flying Dutchman" returned to the Metropolitan Opera on January 11 after an absence of two seasons. In its cast of six, three singers sang their roles at the Met for the first time: Sandor Konya, as Erik; Lili Chookasian, as Mary; and George Shirley as the Helmsman. All three gave excellent accountings of themselves. Konya, whom I have had occasion to praise so often that it is getting to be a pleasant habit, displayed that high quality of musicianship and vocalism that has marked his other roles. Halfway through the season, he has my vote for the Met's "most valuable player."

Giorgio Tozzi sang and acted very well as Daland. His portrayal of this unlovely, avaricious, daughter-selling character may have been a wee bit overplayed in its clowning, but it, was a strong one. George London was a magnificent Dutchman in every respect. His gestures were sparse and correspondingly effective; the vitality and tension he imparted to this role came from where they should: from his vocal chords. Interestingly enough, his was the best German diction of the evening.

Leonie Rysanek's diction in the part of Senta was anything but clear. This generally excellent singer had a rather unsatisfactory night. Her [very first] phrase was woefully off-pitch, and she had trouble with intonation off and on throughout the evening. Some of her high notes were forced. At times, however, she sang superbly — so beautifully that one gladly overlooked the lapses.

On the whole, the performance was a very good one. A great deal of credit is due conductor Karl Boehm, who had the orchestra under perfect control from start to finish and who achieved remarkable ensemble between pit and stage. Under his sensitive direction, the orchestra participated but did not dominate, and this is precisely as it should be with this youthful work of Wagner's, which is still opera but gives a few hints of the “music dramas" that are to come.


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