Romantic opera in three acts
Libretto: composer; libretto translated by Monika Muskała
World premiere: Dresden,
Königliches Sächisches Hoftheater (Semperoper),
2 January 1843
Polish premiere: Teatr Miejski, Lviv, 6 February 1902
Premiere of this production: 16 March 2012
Original language version with Polish surtitles
duration: 3 hrs. 5 minutes including 2 intermissions
Conductor: Rani Calderon
Director: Mariusz Treliński
Set Deisgner: Boris Kudlička
Costume Dasigner: Magdalena Musiał
Choreography: Tomasz Wygoda
Lights: Felice Ross
Chorus Master: Bogdan Gola
Dramaturg: Piotr Gruszczyński
Video: Bartek Macias
Designs of coiffures: Piotr Wasiński
Make-up: Gonia Wielocha
Soloists, Chorus and Orchestra of the Teatr Wielki - Polish National Opera , Dancers and Mimes
Photo: Krzysztof Bieliński
Poster for the production, designed by Adam Żebrowski
Cast:
Daland - Aleksander Teliga
Senta - Lise Lindstrom
Erik - Charles Workman
Mary - Anna Lubańska
Stevermann - Mateusz Zajdel
The Flying Dutchman - Johannes von Duisburg
Dancers:
Justyna Białowąs, Joanna Drabik, Edyta Herbuś, Kaya Kołodziejczyk, Anna Krysiak, Katarzyna Waligóra,
Marta Złotnikiewicz, Tomasz Barański, Piotr Tyrka
Mimes:
Krzysztof Baliński, Adrian Bartczak, Piotr Nowakowski, Michał Ciećka, Krzysztof Czerny, Leszek Stanek
Eleven years ago Mariusz Treliński had already completed two great opera productions which brought him fame in Poland and internationally: the delightful Madame Butterfly and the highly acclaimed King Roger. In interviews, he mentioned plans for an American version of Madame Butterfly and for productions of Otello and Der Fliegende Holländer. The first two projects saw the light of day in 2001, but we had to wait over a decade for the third. “Wagner had been absent from the stage for years, so we decided to initiate a return to this composer with his first mature work. I hope the result will be an intriguing, modern show as I return to my first musical fascinations. After all, Wagner was my ticket to opera”, Mariusz Treliński said in an interview for Rzeczpospolita daily. Der Fliegende Holländer is one of the most often staged of Richard Wagner’s operas. The composer based his libretto on Heinrich Heine’s story about a cursed sailor condemned to an endless voyage until a woman is found who will be faithful to him until death. This romantic legend left a huge impression. Moreover, during a voyage to London in 1839 he survived a powerful storm on the North Sea. It is said that this was when he came up with the musical and artiter.stic vision of the work whose premiere took place four years later.
Sponsor of the premiere:
Partner of the Teatr Wielki - Polish National Opera:
Partner of the premiere:
Media patrons of the Teatr Wielki - Polish National Opera:
PLOT
Part 1
Act 1, 2
The land is flooded by water. The cargo is scattered all around. We find ourselves at a point defined by disaster: in a silent nook of time. The disoriented Norwegian crew under Daland’s command tries to understand the situation they found themselves in.They are nervous because the storm in the Sandvike Bay interrupted their coming back to their village. Finally the mariners are overcome by exhaustion and fall asleep. A handicapped boy, who thinks he is the helmsman, keeps watch during which the captain of the ghostly Flying Dutchman appears. A stranger comes from the sea. The captain starts his story about a curse that seems to permeate everybody and everything. The curse condems him to endless wandering across the seas and oceans. His only comrades are the ship’s crew solely made up of cadavres. Only the unconditional love of a woman who would remain faithful to him may put an end to his wonderings. Only such a sacrifice could bring him salvation. But such an opportunity presents itself only once in seven years. The Dutchman asks Daland about his daughter and he, moved by the stranger’s riches, promises him a quick wedding with Senta – his only daughter. The Dutchman starts his game with Daland’s greed. Than the wind changes its direction. Nowthey can sail out. The women await the sailors on land. Excited, they feel their proximity. Their voices get carried across the sea. Their songs are a promise of the coming meetings. They want to play and make love. Only Senta is immersed in a melancholic torpor, as if waiting for a demon lover. Tempted by the vision of her own happiness she starts telling the story of the Flying Dutchman. She identifies with an angel bringing salvation to the Dutchman, she wants to devote herself to him in order to save him. The power of her story influences the anxious women. This kind of anxiety only enhances their desires. Eric - the hunter in love with Senta who offers her a peaceful family life - appears. But she has made her choice – she is expecting the Dutchman. She is all expec ation of an extraordinary fullfillment, which possesses her like a hypnotic precognition. Eric tells her with great emotion about his dream in which he saw her suicidal death. Meanwhile Daland appears with the news of the mysterious stranger and asks Senta to accept his marriage offer. The love contest between Senta and the Dutchman starts. It is full of fear and inhibition but gives the hope of fulfillment. It is difficult for Senta to believe in the Dutchman’s existence. He in turn, having gone through many such trials, is unable to believe in the sincerity of her intentions. Their almost ritualistic conversation is interrupted by Daland who invites the couple to the wedding party.
Part 2
Act 3
Women dressed in wedding gowns are immersed in a disturbing trance. Songs of the mariners eager for merry-making can be heard. Together with them the ghost-like presence of the Flying Dutchman may be sensed, exciting the awaiting women. The grim feast starts. The mariners‘ beckonings become more and more intense. Yet the women expect a different call. Only the singing of the Flying Dutchman’s crew will move them. Senta appears. She is also ready to be bethroded. But not with Eric who, terrified, watches as before his very eyes the dream prohecy comes true. Eric reminds Senta that she had sworn an oath of fidelity to him. The Dutcheman witnesses this scene and sees in it Senta’s betrayal. Eric in despair shoots from his hunting gun. The wounded Flying Dutchman returns to the sea and disappears in its black depths. Senta in despair begins to understand that in order to keep the promise she had made to the Dutchman she has to make a radical gesture. Abandoned, she tears the gun awayfrom Eric. This is just a consequence of the invisible geometry of feelings. A shot rings out, a shot that may, perhaps, open a possible new life. A life that will not smother all feelings.