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Der fliegende Holländer Chor der Bayerischen Staatsoper

Wagner Der fliegende Holländer

From 17 June TO 23 June 2020
Nationaltheater - München
Program

Wagner : Der fliegende Holländer

2 h 30 Sung in : German
Cast
  • Conductor
    Pinchas Steinberg
  • Director
    Peter Konwitschny
  • Performers
    Der Holländer: Michael Volle
    Senta: Camilla Nylund
    Erik: Wookyung Kim
    Daland: Hans Peter Koenig
    Der Steuermann: Manuel Günther
    Mary: Heike Grötzinger
Details on the Performance

Every seven years the Dutchman is allowed back on land. There this tepest-tossed creature can only be redeemed by a woman, Otherwise his endless odyssey continues. Will Senta be that woman? After all, she longs to break free from the confining world of her father. All he ever thinks about is money. Isn't the wealthy Dutchman just what the doctor ordered? 

M&O OFFER

Spatenhaus an der Oper

Residenzstraße 12

80333 München

 

This offer includes a ticket in the category chosen with a dinner at the Spatenhaus an der Oper after the performance.

« Dish + Dessert » Drinks not included

Fish, Meat or Vegan plate, thanks to confirm during your booking.

Open daily from 11:30 am to 00:30am

 

The Spatenhaus an der Oper embodies Bavarian cuisine in its most refined form . Beautifully situated right opposite the Bavarian State Opera is celebrated in the traditional Munich Haus at great expense a fine Bavarian cuisine.

  • Venue Info
  • Seating Plan
  • Synopsis

Nationaltheater - München Location Max-Joseph-Platz 2 - 80539 München Allemagne

  • Venue's Capacity: 2100

The Venue's History in few words …

The history of Munich's actual theatre truly only begins at the end of the eighteenth century. Indeed, after over a century of infatuation for Italian opera, which was manifest in the construction of the Théâtre de la Cour (now called the Théâtre Cuvilliês, still active), local inhabitants began to feel the need for a German lyrical art. German repertoire, as Mozart appealed for, active in Munich especially during the premiere of his IDOMENEO, but also, a German theatre, since the Theatre de la Cour was limited to Italian art. The Napoleonic wars and King Maximilien I's sudden passion for the Odéon Theatre in Paris postponed this project.

 

The public thus waited until 1818 to discover its « National Theatre, » a subtle and luxurious synthesis of various styles: loggias in the Italian tradition cohabited with innovations from the French school of architecture. One of the noveltieswas a reservoir of water destined to be used in case of fire, but which nevertheless did not save the buildîng from flames in January 1823 ; the water was frozen! The Opera was reconstructed, financed by a special tax on beer: perhaps an original means but one yielding a particularly high return! After these rather tumultuous beginnings, the National Theatre reopened in 1825 and became the hotbed of German lyrical art. Four of Wagner's operas were premiered there between 1365 and 1870 (TRISTAN UND ISOLDE, Da MEISTERSINGER, DAS RHEINGOLD, and DIE WALKÜRE).

 

Wagner, of course, but also Mozart and Richard Strauss soon became the pillars of the Theatre's repertoire during the first half of the twentieth century, thanks to the talent of conductors such as Bruno Walter, Hans Knappertsbusch, and... Richard Strauss, himself a native of Munich. Strauss saw two of his operas premiered in his home town: FRIEDENSTAG (Peace Day, 1938!), and CAPRICCIO (1942). The libretto of the latter was elaborated with the help of the conductor Clemens Krauss, who was then Director of the Opera. The fact that the building was destroyed during the war did not prevent the company's tradition from being perpetuated.

 

Between 1952 and 1967, the institution was directed by Rudolf Hartmann, a former assistant to Richard Strauss and Clemens Krauss. The former 1818 edifice was reconstructed in 1963, after much hesitation as to whether or not to erect a modern hall. The long reign (1971-1992) of conductor Wolfgang Sawallisch, a distinguished representative of the tradition composed of rigour and commitment, is an example of the perserverance with which the Bayerische Staatsoper comes to terms with the legacy of its brilliant past.

Nationaltheater

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Der fliegende Holländer

 

Der fliegende Holländer opera is the most interesting and attention grabbing play, set in French background and translated to various languages across the world. Der fliegende Holländer has been revived from the ancient age to present day performance. This has made the play to be more dramatic and humorous. In the past,

Le hollandais volant was sometimes referred to as the Dutch fielder and which is the most renowned as the ghost ship. It is also referred to as " Der fliegende Holländer" in German, which is the unique heading of the play by Richard Wagner. 

HISTORY
The history of the play is deep and not easy to trace the facts of its origin. The action takes place in the Cape of Good Hope, where the Dutch ship is caught in a snowstorm. Captain Daland is begged by the crew to look for a safe haven but he refuses and locks himself in the log cabin. The storm still increase and the captain defy the heaven to submerge the vessel. The play was revived in 1834 by a German playwright Heinrich Heine. The play was further changed to another version in 1843 by Richard Wagner.

Act 1
An aggressive storm blows the Norwegian fishing vessel away from home. The captain urges his crew to rest and leaves a youthful steersman in control, whom falls into slumber. All of a sudden a galleon drops an anchor to the boat. Captain Daland vows to navigate around the Cape of Good Hope. He is determined to get a lady who will be true to him till his demise. The captain later meets the Flying Dutchman, who later promises to marry Dalands daughter. The captain leads the Dutchman to his residence.

Act 2
The story of the Flying Dutchman is well-known. A portrait of him is hanged in the team leader's house, the women teases Senta about her lover, Erik. Mary declines to amuse the girls narrating the story of the Dutchman with a song. Erik comes in to announce the return of Daland boat, and the sailors are welcomed by the women. With a lot of anxiety Erik declares his love for Senta. Finally Senta leaves Erik and accepts the Dutchman proposal of falling in love with her, and this makes Daland to rejoice.

Act 3
The Daland vessel and the Dutchman's ship are anchored at the dockside, where the Norwegian women bring foodstuffs and drinks to the Dutchman's ship. Regardless of their mockery, no one replies to them. Out of fear the women hands in the food to Norwegian men in its place. Senta finally runs to the quayside and Erik follows her, who is hopeless that she has abandoned him to an alien. The scene ends with the vanishing of the Dutch ship and the crew. Finally Senta meets the Dutchman.

MAIN ROLES
John Michael Watcher, the Dutchman, bass-baritone
Wilhelmine Schroder-Devrient, Senta, Daland's daughter, soprano

Friedrich Traugott, Daland, a Norwegian Sea Captain, bass
Carl Risse, Erik, a huntsman, tenor
Wenzel Bielezizky, Daland's steersman,tenor
Therese Watcher, Mary, Senta's nurse, contralto.

Nationaltheater
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