Der fliegende Holländer

Date & Time

Sun, Jan 12, 2025, 19:00

Venue

Hamburgische Staatsoper, Großes Haus (Hamburg)

Senta's dreams are directed towards the sea: will the man who will free her from her restricted life at home come from there? It begins stormily; Wagner's first fully valid opera presents a grandiose, overwhelming vision of the elements already in the overture. The fate of the Flying Dutchman and the woman who is to redeem him takes place in the roar of the waves and the ocean. This "romantic opera" aims to transcend boundaries - between tradition and future... Read full text

Keywords: Opera

Info & Ticket (www.staatsorchester-hamburg.de)

Musicians

Kent Nagano	Musical Director
Eberhard Friedrich	Chorleitung
Liang Li	Daland
Wendy Bryn Harmer	Senta
Benjamin Bruns	Erik
Katja Pieweck	Mary
Daniel Kluge	Der Steuermann Dalands
Tomasz Konieczny	Der Holländer
Philharmonisches Staatsorchester Hamburg	Orchestra
Chor der Hamburgischen Staatsoper	Chorus

Program

Der fliegende Holländer

Richard Wagner

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Last update: Fri, Nov 22, 2024, 12:42

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Der fliegende Holländer

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Info (www.staatsorchester-hamburg.de)

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Info (www.staatsorchester-hamburg.de)

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Sun, Jan 19, 2025, 15:00

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About the work The Dutchman is a cursed man, an outsider, a driven individual. Richard Wagner came upon the character of the famous drifter via Heinrich Heine, who lent the Romantic material his typically ironic touch. Wagner’s interest was tweaked not by Heine’s packaging of the story, which relegated the Dutchman-based action to the margins, but by the tale of the enigmatic mariner, which led to him writing his first opera about the man’s quest for a woman who could offer him redemption. The Dutchman, restlessly plying the borderlands between life and death, encounters Senta, who appears equally ill-at-ease and rootless and yearns for a masculine character, the Dutchman, a figment of her imagination. Written in 1841 and performed for the first time in Dresden in 1843, Wagner’s opera, following on the heels of RIENZI, a work in the grand opéra tradition, harks back to the German idea of Romantic opera as exemplified by Weber or Marschner. THE FLYING DUTSCHMAN also marks the beginning of a new and characteristically Wagnerian style, a new form of musical drama. This is the first of many works by Wagner to place the theme of redemption through love in death at the core of the piece. About the production Director and choreographer Christian Spuck, artistic director of the Staatsballett Berlin since 2023, has given us a realm of dream images and fantastical visions, of obsession and projection – a world that has lost touch with reality. Most affected by this is Erik, the huntsman, who seems to be the only figure capable of true love. But he can no longer get through to a Senta who is wrapped up in her dreams. Erik is in the nightmarish situation of watching Senta increasingly cut herself off from him until she eventually commits suicide.

Info & Ticket (deutscheoperberlin.de)

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About the work The Dutchman is a cursed man, an outsider, a driven individual. Richard Wagner came upon the character of the famous drifter via Heinrich Heine, who lent the Romantic material his typically ironic touch. Wagner’s interest was tweaked not by Heine’s packaging of the story, which relegated the Dutchman-based action to the margins, but by the tale of the enigmatic mariner, which led to him writing his first opera about the man’s quest for a woman who could offer him redemption. The Dutchman, restlessly plying the borderlands between life and death, encounters Senta, who appears equally ill-at-ease and rootless and yearns for a masculine character, the Dutchman, a figment of her imagination. Written in 1841 and performed for the first time in Dresden in 1843, Wagner’s opera, following on the heels of RIENZI, a work in the grand opéra tradition, harks back to the German idea of Romantic opera as exemplified by Weber or Marschner. THE FLYING DUTSCHMAN also marks the beginning of a new and characteristically Wagnerian style, a new form of musical drama. This is the first of many works by Wagner to place the theme of redemption through love in death at the core of the piece. About the production Director and choreographer Christian Spuck, artistic director of the Staatsballett Berlin since 2023, has given us a realm of dream images and fantastical visions, of obsession and projection – a world that has lost touch with reality. Most affected by this is Erik, the huntsman, who seems to be the only figure capable of true love. But he can no longer get through to a Senta who is wrapped up in her dreams. Erik is in the nightmarish situation of watching Senta increasingly cut herself off from him until she eventually commits suicide.

Info & Ticket (deutscheoperberlin.de)

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About the work The Dutchman is a cursed man, an outsider, a driven individual. Richard Wagner came upon the character of the famous drifter via Heinrich Heine, who lent the Romantic material his typically ironic touch. Wagner’s interest was tweaked not by Heine’s packaging of the story, which relegated the Dutchman-based action to the margins, but by the tale of the enigmatic mariner, which led to him writing his first opera about the man’s quest for a woman who could offer him redemption. The Dutchman, restlessly plying the borderlands between life and death, encounters Senta, who appears equally ill-at-ease and rootless and yearns for a masculine character, the Dutchman, a figment of her imagination. Written in 1841 and performed for the first time in Dresden in 1843, Wagner’s opera, following on the heels of RIENZI, a work in the grand opéra tradition, harks back to the German idea of Romantic opera as exemplified by Weber or Marschner. THE FLYING DUTSCHMAN also marks the beginning of a new and characteristically Wagnerian style, a new form of musical drama. This is the first of many works by Wagner to place the theme of redemption through love in death at the core of the piece. About the production Director and choreographer Christian Spuck, artistic director of the Staatsballett Berlin since 2023, has given us a realm of dream images and fantastical visions, of obsession and projection – a world that has lost touch with reality. Most affected by this is Erik, the huntsman, who seems to be the only figure capable of true love. But he can no longer get through to a Senta who is wrapped up in her dreams. Erik is in the nightmarish situation of watching Senta increasingly cut herself off from him until she eventually commits suicide.

Info & Ticket (deutscheoperberlin.de)

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Info & Ticket (deutscheoperberlin.de)

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About the work The Dutchman is a cursed man, an outsider, a driven individual. Richard Wagner came upon the character of the famous drifter via Heinrich Heine, who lent the Romantic material his typically ironic touch. Wagner’s interest was tweaked not by Heine’s packaging of the story, which relegated the Dutchman-based action to the margins, but by the tale of the enigmatic mariner, which led to him writing his first opera about the man’s quest for a woman who could offer him redemption. The Dutchman, restlessly plying the borderlands between life and death, encounters Senta, who appears equally ill-at-ease and rootless and yearns for a masculine character, the Dutchman, a figment of her imagination. Written in 1841 and performed for the first time in Dresden in 1843, Wagner’s opera, following on the heels of RIENZI, a work in the grand opéra tradition, harks back to the German idea of Romantic opera as exemplified by Weber or Marschner. THE FLYING DUTSCHMAN also marks the beginning of a new and characteristically Wagnerian style, a new form of musical drama. This is the first of many works by Wagner to place the theme of redemption through love in death at the core of the piece. About the production Director and choreographer Christian Spuck, artistic director of the Staatsballett Berlin since 2023, has given us a realm of dream images and fantastical visions, of obsession and projection – a world that has lost touch with reality. Most affected by this is Erik, the huntsman, who seems to be the only figure capable of true love. But he can no longer get through to a Senta who is wrapped up in her dreams. Erik is in the nightmarish situation of watching Senta increasingly cut herself off from him until she eventually commits suicide.

Info & Ticket (deutscheoperberlin.de)