NEW YORK — The headline in Broadway World’s review of the Metropolitan Opera’s revival of Beethoven’s “Fidelio” fittingly announced, “Davidsen Goes out with a Bang.” Although Lise Davidsen is concluding her role as the wife who disguises herself as a man to rescue her husband, she is embarking on a new personal journey. After her final performance, Davidsen will return to Norway to prepare for her new role as a mother of twins. Nonetheless, her fans have something to look forward to during her maternity leave; Decca is set to release a recording of Wagner’s “Der Fliegende Holländer” (“The Flying Dutchman”), an opera that Davidsen has never performed and may not revisit.
Davidsen had been approached to sing the role of Senta, the sea captain’s daughter who attempts to save the Dutchman from eternal damnation, for almost a decade. However, she consistently refused, feeling unprepared. This stance might appear surprising considering her experience with other Wagner roles such as Elisabeth in “Tannhäuser” and Sieglinde in “Die Walküre.” But Davidsen found the role’s tessitura challenging; its vocal range was demanding for her several years ago. The high dramatic notes posed a significant challenge, with sections requiring extended high range singing.
Her perspective changed after mastering the title role of Richard Strauss’s “Salome,” another opera demanding frequent high-range vocals. Her performance received critical acclaim at the Paris Opera last year. Further motivation to undertake Senta came from Decca’s impressive team and that the recording was made during two live performances at the Oslo Opera House. The conductor was Edward Gardner, music director of the Norwegian National Opera and Ballet, and baritone Gerald Finley played the Dutchman. Davidsen has long admired Finley’s talent, and their second-act duet proved to be particularly inspiring. Davidsen fondly recalled Finley’s hauntingly beautiful opening, stating, “It just gave me goosebumps.”
Davidsen matched Finley’s performance, adjusting her powerful voice for delicate moments before releasing it with intensity during the opera’s climaxes. The recording, featuring bass Brindley Sharratt as Senta’s father Daland, and tenor Stanislas de Barbeyrac as her suitor Erik, is scheduled for release on April 18. Despite completing this project, Davidsen currently has no plans to perform Senta on stage. She was open to change in the future but remains focused on other roles for now.
Davidsen’s upcoming engagements include significant Wagnerian roles: Isolde in “Tristan und Isolde” and Brünnhilde in the “Ring” cycle. Both are slated for productions at the Met directed by Yuval Sharon, with “Tristan und Isolde” scheduled to premiere next year. Additionally, she aspires to expand her repertoire into Italian operas. Her successful past performances in Verdi’s “Don Carlo” and “La Forza del Destino” have energized her pursuit. A contrasting role she is keen to explore is Lady Macbeth in “Macbeth,” a role she describes as delightfully complex and “loco.” This will lead the Met’s 2026-27 season in a new production.
Expecting her twins in June, Davidsen plans to take a prolonged leave until the end of 2025. Reflecting on cultural differences about maternity leave, she noted, “In America they think that’s a very long leave, but back home they think it’s very short.” Upon her return, Davidsen intends to reduce frequent concert appearances that involve excessive travel. She appreciates the extended duration stability new opera productions provide, often allowing artists to reside in one place for several months between rehearsals and performances.
Meanwhile, her last performance of “Fidelio” is scheduled for a Saturday afternoon live HD broadcast to movie theaters globally. The show features Susanna Mälkki as conductor and a talented cast including tenor David Butt Philip as Florestan, bass Rene Papé as the jailer Rocco, soprano Ying Fang as Marzelline, and baritone Tomasz Konieczny as Don Pizarro, the primary antagonist.
