Bryn Terfel's Holländer has the magic magnetic power of disappearing at will . . . Musically there's much to shout about. The orchestra acquit themselves well in their two-hour-plus marathon for Altinoglu, who maintains a good pace and uncovers much detail . . . Terfel delivers the role with massive conviction and constant cherishing of the vital words in a phrase . . . [Kampe] is a very wholesome and untiring Senta . . . Good sound and filming . . .

. . . an excellent musical performance, with Bryn Terfel at his finest, and Anja Kampe as an inspired Senta. The veteran Matti Salminen . . . sings sumptuously as Daland, indeed every member of the cast, and the fine chorus, are impressive. So is Alain Altinoglu's conducting.

As a performance, this new "Flying Dutchman" is one of the finest . . . an outstanding cast headed by Bryn Terfel's powerful Dutchman. He is ideal for the role, and sensitive to the character's beliefs and delusions. Anja Kampe's Senta is inspired, and, a superb actress, she convincingly conveys the woman's torments. And we have the luxury of Finnish bass Matti Sallminen as Daland . . . The orchestra and chorus are superb under Alain Altinoglu's dynamic direction . . . an outstanding performance . . .

The sound is magnificent. Although performed in front of a live audience, you never hear a cough, a giggle, or a program rustle. It is superbly miked, and the characters, probably outfitted with inconspicuous body microphones, never drop a word or even a single note. Conductor Alain Altinoglu serves the justly famous overture with vigor and passion. The chorus of sailors is spot on with their masculine posing and stirring marches. The Act III Sailors' Chorus ("Steuermann! Lass die Wacht!") is as high-spirited as it should be. In contrast, the chorus of village girls is alternately sweet and wan. The well-known "Spinning Chorus" is expressive and deftly turn to mockery, as an antidote to Senta's dreamy romanticism. And Senta herself? Anja Kampe sings the role with dedication, intelligence, and even a dollop of seductiveness. Her rendition of "Senta's Ballad" ("Traft ihr das Schiff im Meere an") is convincing and poignant. (When she decides to pursue the Dutchman, she strips down to her nightgown and thereafter exudes pure voluptuousness) . . . [Terfel's] voice sounds determined -- even authoritative -- and anguished when necessary. If this were a CD set, I would play it in my car. Frequently . . . I give this Blu-ray a thumbs up.

Any Wagner opera sung by a great cast from top to bottom is a rarity, but this production of "Fliegende Holländer" delivers . . . a perfect match between Terfel's personal charisma and vocal acting . . . His presence is towering in any role he undertakes . . . he has become unmatchable, a transfixing figure . . . the power of his delivery is astonishing. The casting that surrounds him is nearly ideal, beginning with Anja Kampe as Senta, in radiant voice and totally secure in the Ballade . . . [Alain Altinoglu] reveals in the Overture a sure instinct for Wagnerian drama . . . he molds a detailed reading that can stand on its own in any concert hall . . . To round out the singing, the Steersman and Erik are well above average, and the Zurich Opera choristers are superb. Altinoglu gets sustained fine playing from the pit orchestra . . . one of the best modern "Flying Dutchman" recordings in any format.

Bryn Terfel ist geradezu beängstigend in der Titelrolle . . . Überwältigend ist Anja Kampe (Senta) stimmlich wie darstellerisch. Der weitere große Pluspunkt ist, dass sich der Dirigent Alain Altinoglu für die Erstfassung entschieden hat, die eher Ballade in drei Strophen (und Spiegelung der Senta-Ballade) als Oper in drei Akten ist. Wagner ließ da noch keine Verklärung zu, dem entsprechend rau und herb geht es bei Altinoglu zu. Es ist Nordseemusik, man meint, das Salzwasser zu spüren.

Anja Kampes Senta ist engagiert und wahrhaftig. Im Zentrum des Ensembles aber steht Bryn Terfel, der den Holländer stimmgewaltig und differenziert zugleich verkörpert, als ewig nach Liebe Suchenden.

Bryn Terfel perpétue la lignée des Hollandais grandioses . . . L'Erik éperdu et très séduisant de Marco Jentzsch est quant à lui superlatif, d'un lyrisme bouleversant . . . Le Pilote agile et clair de Fabio Trümpy et l'irrésistible Mary "pète-sec" de Lilian Nikiteanu complètent la distribution. De merveilleux costumes pour tous ajustent l'intelligence de cette nouvelle conception, qui est loin d'en être une de plus, du premier chef-d'oeuvre de Wagner.

. . . [ce spectacle] provoqua un séisme comparable au "Ring" de Chéreau . . . Salminen est un Daland magistral, Estes un Hollandais effrayant de bestialité, la Senta de Balslev se distingue par un don d'actrice et un chant gorgés d'expression.