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Der fliegende Holländer

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Deutsche OperBismarckstraße 35, Berlin, 10627, Allemagne
Avril 19 18:00, avril 30 19:30, mai 15 19:30, mai 29 19:30
Artistes
Deutsche Oper Berlin
Ivan RepušićDirection
Christian SpuckMetteur en scène
Rufus DidwiszusDécors
Emma RyottCostumes
Noel BouleyBaryton-basseLe Hollandaisavril 19, 30
Michael VolleBarytonLe Hollandaismai 15, 29
Martina WelschenbachSopranoSentaavril 19, 30
Ingela BrimbergSopranoSentamai 15, 29
Tobias KehrerBasseDaland
Thomas BlondelleTénorErikavril 19, 30
Robert WatsonTénorErikmai 15, 29
Annika SchlichtMezzo-sopranoMaryavril 19, 30
Ronnita MillerMezzo-sopranoMarymai 15, 29
Andrei DanilovTénorLe Timonieravril 19, 30
Matthew NewlinTénorLe Timoniermai 15, 29
Ulrich NiepelLumières
Jeremy BinesChef de choeur
Chor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

The Dutchman is a cursed man, a driven man, an outsider. Richard Wagner encountered this stateless figure in the pages of Heinrich Heine, who suffused the romantic material with his characteristic irony. Wagner was uninterested in Heine’s broader storyline, which downplayed the Dutchman material. Wagner immersed himself in the story of the mysterious mariner, drawing for his first opera on this tale of a man searching for a woman who can offer him redemption. Roving restlessly in the borderlands of Life and Death, the Dutchman meets Senta, a woman who, in her own way, appears alien and without a place to call home and is yearning for a male character, a figment of her own fantasy – the Dutchman. The world is one of dream images, obsessions, projections and the fantastic, a world that has long since lost touch with reality. The character most affected by all this is the huntsman, Erik, arguably the only person in the story who is genuinely in love, but he is unable to reach the other characters, which are lost in their dreams. Written in 1841 and first performed in Dresden in 1843, Wagner’s opera builds on the tradition of German romantic operas as espoused by Weber and Marschner and is a departure from the grand opera style of his previous opera, RIENZI. Yet despite his mainstream approach, the work is an indication of Wagner’s development as a musical dramatist – and the first to place Wagner’s prime preoccupation, redemption through love in death, at the center of proceedings.

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