In the bustling city of New York, the Metropolitan Opera is set to bring an emotional close to its revival of Beethoven’s “Fidelio.” Lise Davidsen, who captivates audiences as the determined wife disguising herself to free her husband, will soon take her final bow in this role. As she steps off the stage, the celebrated soprano will embark on a new journey back in her native Norway, preparing to embrace motherhood with the birth of her twin children. During her maternity leave, Davidsen’s admirers will have the opportunity to enjoy her artistry in a different form, as a new recording of Wagner’s “Der Fliegende Holländer” (“The Flying Dutchman”) is set to be released by Decca.
The decision to take on the challenging role of Senta, the sea captain’s daughter destined to save the Dutchman, was not one made lightly by Davidsen. Despite being approached for nearly a decade, she consistently declined, feeling unprepared to tackle the demanding tessitura of the part. Although the role is not lengthy, its high-range dramatic demands were once daunting. The evolution of her vocal capabilities, exemplified by her acclaimed performance in the role of Richard Strauss’s “Salome” at the Paris Opera, finally gave her the confidence to tackle Senta.
The recording, which captures the energy of two live performances at the Oslo Opera House, features conductor Edward Gardner and the lauded baritone Gerald Finley as the Dutchman. The collaboration with this remarkable team and the emotional depth shared in their duet, where Finley’s ethereal voice gave Davidsen goosebumps, added to the experience’s richness. Alongside bass Brindley Sharratt as Daland and tenor Stanislas de Barbeyrac as Erik, the recording promises to be a memorable addition to her discography when it releases on April 18.
Despite the success of this recording, Davidsen expresses no immediate intention to perform Senta on stage. Her focus remains on other prestigious roles, particularly in the Wagnerian realm. Upcoming productions at the Met will see her tackle the monumental characters of Isolde in “Tristan und Isolde” and Brünnhilde in the “Ring” cycle, directed by Yuval Sharon. These roles mark significant milestones for any dramatic soprano, further solidifying her eminent stature in the operatic world.
Eager to explore other musical terrains, Davidsen is also keen on delving deeper into Italian opera—a domain where she has already achieved notable success with Verdi’s heroines like Elisabetta in “Don Carlo” and Leonora in “La Forza del Destino.” A new venture she anticipates with excitement is tackling the intense role of Lady Macbeth, scheduled to open the Met’s 2026-27 season. Her enthusiasm for this complex character underscores her ambition to depict the visceral nature underlying Lady Macbeth’s character.
As she looks forward to welcoming her twins in June, Davidsen plans to extend her sabbatical from the stage until the end of 2025, which some in America consider lengthy, though it is viewed as brief in her Norwegian homeland. Upon her return, she aims to reduce the hectic pace of concert tours, opting for the stability and duration that new opera productions offer. Such productions afford her the opportunity to remain anchored in one location, nurturing both her family and career in harmony.
The concluding performance of “Fidelio” promises to be a broadcast event, with Susanna Mälkki conducting a stellar cast including tenor David Butt Philip as Florestan, bass Rene Papé as Rocco, soprano Ying Fang as Marzelline, and baritone Tomasz Konieczny as Don Pizarro. This finale will undoubtedly mark both an end and a new beginning for Davidsen as she transitions to an exciting new chapter.
