The Dutchman overhears this conversation and can no longer believe Senta truly means to keep her promise to him.
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Without giving her the chance to explain, the Dutchman turns to leave. In an act of despair, Senta confirms her pledge of fidelity. Wagner is our redemption Peter Konwitschny is one of the definitive innovators in the operatic staging field — constantly rethinking old stories into the present and finding unconventional scenic solutions.
The things that are documented in those works seem to me to be more and more important for our entire cultural history. I find his slightly hybrid demand magnificent, when he tells us that now that government and religion, in other words all the institutionalized systems, have failed, now art must take over the role of religion. And that is the power of love.
He concerns himself with an outcast who has risen above our order: Then an angel comes along and says: There is a magnificent poetry in this story, but we may certainly draw some conclusions from it about our own real world: Although there are often great talents among them, they are exiled from the community — unless an unconditional love like this one rescues them.
As in Parsifal , there are no more solutions, only redemption. The tragic factor of this story is: That is because of his inability to commit totally to a relationship. Men have a terrible fear of a woman like that, who hangs on, who is unconditional. That means it is a totally real story. I think the play is diminished if it is simply shows the dream of a woman: No, this is about the individual and society, about these relationship issues: Well, we did come up with that correlation in rehearsals: Her single parent Daland is eager to get his pubescent daughter to the altar, and make himself a little richer in the process.
By the way, I consider it unnecessary to make Daland into such an unpleasant, money hungry capitalist.
As a rule, you never direct any piece twice. I regard the occupation with these as pieces highly existential, and I have never experienced a moment when I thought: So the basic concept is the same, but here the ultimate impact of our production focuses on a different audience, people who know their Wagner — unlike in Moscow, where Wagner is still thought of as somewhat exotic.
The Flying Dutchman (opera) - Wikipedia
But it will be different, in the finer structure, in the details, because we have a completely different cast. I regard authentic characters in their interrelationships as the core of the theatre — and here we have different people and different experiences, wishes, dreams and a different vocabulary of body language. A miracle happens in the theatre when the singers lend their life to the characters. In recent times you went so far as to intrude into the musical structure of the operas.
Before that, the score was regarded as sacrosanct — is this permissible? I will answer you with Brecht — you may do it if you can do it.
Fundamentally I find this attitude of considering something sacred to be untouchable false. This is connected with being awestruck — and the word itself is a bit paradoxical. How can I be struck by something I look upon with awe? For the theatre, this would mean: And yet the context of a drama is in a state of constant flux. A staging is always a translation: As I see it, loyalty to the work means restoring the relationship between the author and the spectators — between us, the theatre makers and our contemporaries.
In the case of Meistersinger I was concerned with the nationalistic misunderstanding that had come about between Wagner and ourselves. This is embodied in the dubious theory that without Wagner there would have been no Hitler — and I find that pretty heavy. When our language becomes overloaded with Americanisms we lose our identity. I simply wanted to clarify that point and bring it out — for a long time we wondered if we could manage this without any interruptions.
From where do you draw your ideas, theories and concepts? The musical text is more decisive than the libretto in defining the action. When the Dutchman, for example, in his initial monologue longs for the end of the world, the consequences of which are questionable enough — then the things raging in the music leave no doubt in our minds that we are talking about the greatest of all imaginable disasters! As stage director I feel myself obligated to give this a fitting scenic expression, by not having the phantom chorus sing, as it usually does, from off-stage, but rather by revealing these people in all their misery.
Choral staging is one of your specialties. I see a thing a certain way and feel that art is a very subjective proposition.
I had to show this — otherwise the message gets lost. By the beginning of , the now year-old Richard Wagner was employed as a conductor at the Court Theatre in Riga. His extravagant lifestyle plus the retirement from the stage of his actress wife, Minna, caused him to run up huge debts that he was unable to repay. However, this plan quickly turned to disaster: The ship at one point took refuge in the Norwegian fjords at Tvedestrand , and a trip that was expected to take eight days finally delivered Wagner to London three weeks after leaving Riga. Wagner's experience of Paris was also disastrous.
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The Wagners were reduced to poverty, relying on handouts from friends and from the little income that Wagner could make writing articles on music and copying scores. The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange colouring that only my sea adventures could have given it.
In Heine's tale, the narrator watches a performance of a fictitious stage play on the theme of the sea captain cursed to sail forever for blasphemy. Heine introduces the character as a Wandering Jew of the ocean, and also added the device taken up so vigorously by Wagner in this, and many subsequent operas: In Heine's version, this is presented as a means for ironic humour; however, Wagner took this theme literally and in his draft, the woman is faithful until death.
By the end of May Wagner had completed the libretto or poem as he preferred to call it. Composition of the music had begun during May to July of the previous year, , when Wagner wrote Senta's Ballad, the Norwegian Sailors' song in act 3 " Steuermann, lass die Wacht!
Der fliegende Holländer
While this score was designed to be played continuously in a single act, Wagner later divided the piece into a three-act work. In doing so, however, he did not alter the music significantly, but merely interrupted transitions that had originally been crafted to flow seamlessly the original one-act layout is restored in some performances. In his original draft Wagner set the action in Scotland, but he changed the location to Norway shortly before the first production staged in Dresden and conducted by himself in January On his homeward journey, the sea captain Daland is compelled by stormy weather to seek a port of refuge near Sandwike in southern Norway.
He leaves the helmsman on watch and he and the sailors retire. Song of the helmsman: A ghostly vessel appearing astern is dashed against Daland's vessel by the sea and the grappling irons hold the two ships together. Invisible hands furl the sails. A man of pale aspect, dressed in black, his face framed by a thick black beard, steps ashore. He laments his fate. An angel brought to him the terms of his redemption: Every seven years the waves will cast him upon the shore; if he can find a wife who will be true to him he will be released from his curse.
Daland wakes up and meets the stranger. The stranger hears that Daland has an unmarried daughter named Senta, and he asks for her hand in marriage, offering a chest of treasure as a gift. Tempted by gold, Daland agrees to the marriage. The southwind blows and both vessels set sail for Daland's home. A group of local girls are singing and spinning in Daland's house.
Against the will of her nurse, she sings to her friends the story of the Dutchman Ballad with the Leitmotiv , how Satan heard him swear and took him at his word. She vows to save him by her fidelity. The huntsman Erik, Senta's former boyfriend, arrives and hears her; the girls depart, and the huntsman, who loves the maiden, warns her, telling her of his dream, in which Daland returned with a mysterious stranger, who carried her off to sea.
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She listens with delight, and Erik leaves in despair. Daland arrives with the stranger; he and Senta stand gazing at each other in silence. Daland is scarcely noticed by his daughter, even when he presents his guest as her betrothed. In the following duet , which closes the act, Senta swears to be true till death.
Related Der Fliegende Hollaender The Flying Dutchman (German Edition)
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