Composer: Richard Wagner
Works: Parsifal: “Wehvolles Erbe, dem ich verfallen,” “Du sieht, das ist nicht so”; Der fliegende Holländer: “Die Frist ist um”; Die Meistersinger von Nürnberg: “Was duftet doch der Flieder,” “Wahn, Wahn, überall Wahn,” “Nun hört und versteht mich recht”; Die Walküre: “Wotans Abschied und Feuerzauber”
Performers: Albert Dohmen (bass-baritone); Orchestra del Teatro Massimo, Palermo; Gustav Mahler Jugendorchester/Stefan Anton Reck
Recording: 9.2001, Teatro Massimo, Palermo; Bolzano
Label: Arte Nova Classics 74321 90063 2 [58’ 29”]
Richard Wagner’s operatic canon remains a cornerstone of the classical repertoire, with its intricate psychological landscapes and profound philosophical inquiries. This recording featuring Albert Dohmen as the bass-baritone soloist offers a compelling exploration of Wagner’s character-driven arias, presenting a portrait that spans several pivotal operas. Each selection is meticulously chosen to highlight both the dramatic intensity and lyrical beauty that defines Wagner’s music, making it an ideal entry point for those who may find the sprawling nature of Wagnerian operas daunting.
Dohmen’s voice possesses a rich, resonant quality that commands attention from the outset. His interpretation of Amfortas’ anguished lament in “Wehvolles Erbe” is particularly noteworthy, delivering not only the requisite dramatic weight but also a lyrical sensitivity that underscores the character’s suffering. The legato passages flow seamlessly, showcasing Dohmen’s technical prowess and musicality. His diction, though at times obscured by the absence of texts in the booklet, remains expressive, allowing the listener to appreciate the emotional arc without needing to rely solely on the words. This is a strength, as it encourages a focus on the voice’s inherent musicality—an aspect reminiscent of the great Hans Hotter, whose Wagnerian interpretations set high standards for future generations.
The orchestra, under Stefan Anton Reck, encapsulates the Wagnerian ethos with a palpable understanding of the score’s ebb and flow. While the Palermo-based Orchestra del Teatro Massimo may not possess the heft of larger ensembles, Reck’s direction ensures that the orchestral fabric complements Dohmen’s voice rather than overwhelms it. The “Wotans Abschied und Feuerzauber” extract from Die Walküre exemplifies this symbiotic relationship; the orchestra’s delicate articulation during the interludes provides a vibrant backdrop, enriching the emotional depth of Wotan’s farewell. The youthfulness of the Gustav Mahler Jugendorchester brings an invigorating freshness to the performance, though the lighter string tone occasionally lacks the gravitas associated with adult orchestras.
Recording quality is a paramount concern with live performances, and while the acoustic of the Teatro Massimo offers a warm embrace for Dohmen’s voice, the orchestral bass can occasionally appear tubby, a characteristic reminiscent of recordings made in Bayreuth. However, this slight imbalance does not detract significantly from the overall experience, as the technical engineering effectively captures the nuances of both voice and orchestra during the climactic moments of the selections. The Bolzano recording presents a more conventional concert-hall sound, further illustrating the versatility of the musicians involved.
For both newcomers to Wagner and seasoned aficionados, this collection serves as a valuable addition to the discography of Wagnerian performance. The lack of contextual notes for each piece may leave some listeners yearning for further insight into the narratives being conveyed, particularly as Dohmen traverses multiple characters across the operatic landscape. Nevertheless, the booklet includes substantial information on the artists, which can enhance appreciation of the performances themselves.
Albert Dohmen’s portrayal across these excerpts reflects a deep understanding of Wagner’s characters, embodying their complexities with vocal clarity and emotional depth. This recording stands as a testament to his artistry, offering a significant contribution to the catalog of Wagnerian recordings, and is likely to inspire listeners to delve deeper into the operatic works from which these selections are drawn. The balance of vocal authority and orchestral support, combined with the engaging nature of the performances, ensures its place as a commendable and insightful resource for Wagner enthusiasts and newcomers alike.
