NEW YORK (AP) — “Davidsen Goes Out With A Bang,” read the headline in Broadway World’s review of the Metropolitan Opera revival of Beethoven’s “Fidelio.” And yes, Lise Davidsen is, metaphorically speaking, going out with quite the flair. After her final performance as the wife who disguises herself as a man to save her husband, she will head back home to Norway, preparing to embrace her new role as the mother of twins.
But fans of the phenomenal soprano have something to look forward to during her maternity leave: Decca is set to release her recording of Wagner’s “Der Fliegende Holländer” (“The Flying Dutchman”) on April 18, 2025. This will be particularly special, as it features Davidsen taking on the role of Senta, the sea captain’s daughter who is drawn to rescue the doomed Dutchman.
What nudged Davidsen to finally take on the role of Senta after nearly 10 years of hesitance? While she has previously sung notable Wagnerian roles like Elisabeth in “Tannhäuser” and Sieglinde in “Die Walküre,” relative shortness aside, the tessitura — the specific pitch range where the voice is centered — of Senta always felt tricky to her. “It lies in a tricky place and is surprisingly dramatic in the high range,” she said. “For me, it was a little bit too high for too long.”
The breakthrough came after she excelled with the title role of Richard Strauss’s “Salome,” which similarly requires the soprano to reach for the upper limits of her range. Following her acclaimed performance at the Paris Opera last year, she found herself inspired and ready to tackle the role of Senta.
Compelling aspects also stemmed from the production itself. The recording, taken from two live performances at the Oslo Opera House, features Edward Gardner as the maestro of the Norwegian National Opera and Ballet, with baritone Gerald Finley perfectly capturing the ethereal quality of the Dutchman. Davidsen held Finley’s exquisite vocal quality—in the duet they share—so highly, stating, “It just gave me goosebumps because his sound is so beautiful. It’s so inspiring and clear.”
Finally, though Davidsen has overcome obstacles to perform the role and is now proud of the completed project, she does not foresee herself taking it on again onstage. “I can never say never,” she remarked, “and maybe in five years something changes. But for now, there’s a lot of other roles I have coming.”
The Norwegian soprano is set to explore the heights of Wagner’s operas, as she is also confirmed to perform Isolde in “Tristan und Isolde” and Brünnhilde in the “Ring” Cycle” at the Met — with her Isolde performance slated to arrive within just one year. Her stellar prowess doesn’t end here; she is eager to dig her teeth (or rather, her voice) even more deeply within Italian repertoire. Davidsen anticipates adding another Verdi classic to her repertoire — the infamous Lady Macbeth from “Macbeth,” which she will debut during the Metropolitan Opera’s 2026-2027 season.
On the personal front, Davidsen is expecting her twins to arrive come June 2025 and plans to extend her leave from singing for the entirety of the year following their birth. She envisions reducing her concert tours and minimizing the exhausting travel commitments. “The back and forth, here and there, I don’t want to do it,” she stated reflectively. “The good thing with new opera productions is we can all be here together.” This newfound approach allows for ample time for preparation, as these productions typically offer at least two months of residency.
Meanwhile, her final performance of “Fidelio” this coming Saturday will be celebrated with live broadcasts worldwide, illuminating cinemas with the thrilling production. The show will feature prominent talents, including tenor David Butt Philip embodying the unjustly imprisoned Florestan, bass Rene Papé portraying the jailer Rocco, soprano Ying Fang as the soulful Marzelline, and baritone Tomasz Konieczny bringing to life the sinister Don Pizarro, all conducted by Susanna Mälkki.
With Davidsen closing one chapter and anticipating new beginnings, her triumphs continue to outline her stellar path forward. Fans will eagerly await her return, buoyed not just by her powerful voice but by the very human story behind her artistry.