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CHANDOS O PERA IN ENGLISH WAGNER The Flying Dutchman

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Lebrecht Music & Music Lebrecht Arts Richard Wagner (1813–1883) The Flying Dutchman Romantic opera in one act Libretto by the composer after Heine’s Aus den Memoiren des Herren von Schnabelewopski, English translation by Christopher Cowell Daland, a Norwegian sailor...... Eric Halfvarson bass Senta, his daughter ...... Nina Stemme soprano Erik, a huntsman...... Kim Begley tenor Mary, Senta’s nurse...... Patricia Bardon mezzo-soprano Daland’s Steersman ...... Peter Wedd tenor The Dutchman ...... John Tomlinson bass

Geoffrey Mitchell Choir London Philharmonic Orchestra Gareth Hancock assistant conductor David Parry

Richard Wagner in Paris, by E.F. Kütz, 1842

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COMPACT DISC ONE Time Page Time Page 1 Overture 11:34 [p. 76] 3 ‘My child, your father’s on the threshold’ 1:38 [p. 89] Daland, Senta Scene 1 4 ‘Senta, my child, extend a welcome to this stranger’ 5:53 [p. 89] 2 ‘Hoyohey! Halloyo! Ho! Hey!’ 10:59 [p. 76] Daland Sailors, Daland, Steersman 5 ‘As from the distant dawn of my creation’ 15:19 [p. 90] 3 ‘The time has come’ 11:43 [p. 77] Dutchman, Senta Dutchman, Dutchman’s Crew 6 ‘My crew are bored with this delay’ 2:48 [p. 91] 4 ‘Hey! Holla! Steersman!’ 21:14 [p. 78] Daland, Senta, Dutchman Daland, Steersman, Dutchman, Sailors Scene 3 Scene 2 7 ‘Steersman, leave your watch!’ 13:28 [p. 92] 5 ‘Whirr and whirl as morning passes’ 8:53 [p. 82] Norwegian Sailors, Girls, Steersman, Dutchman’s Crew Girls, Mary, Senta 8 ‘What is this madness?’ 2:34 [p. 96] TT 64:36 Erik, Senta 9 ‘Could you forget those carefree happy hours’ 3:13 [p. 96] COMPACT DISC TWO Erik 10 ‘It’s hopeless! Ah! It’s hopeless!’ 8:30 [p. 97] 1 ‘Yohohoey! I see a ship, as black as night’ 10:06 [p. 84] Senta, Girls, Mary Dutchman, Erik, Senta, Daland, Mary, Girls, Sailors, Dutchman’s crew TT 77:27 2 ‘Stay, Senta! Stay awhile and talk with me’ 13:50 [p. 86] Erik, Senta

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The Flying Dutchman is a fantastic piece of music and John Tomlinson has recorded a marvellous interpretation. We are also

extremely lucky to have Nina Stemme, York New Christie’s, whose English is so expressive. The first Opera in English recording that we made was Wagner’s Siegfried, released

© Bayreuther Festspiele GmbH/Arve Festspiele © Bayreuther Dinda thirty years ago, and I hope that you will buy at least one of that wonderful English National Opera Ring set.

October 2004

John Tomlinson in the title role of The Flying Dutchman at the Bayreuth Festival Sir Peter Moores examining an archaic Chinese bronze from the collection at Compton Verney 7 6 CHAN 3119 BOOK.qxd 20/9/06 12:00 pm Page 8

Dutchman: ‘The devil took the ship’s captain It was in Paris that Wagner had met Heine, How Wagner found the Flying Dutchman at his word and he is forced to roam the seas another exiled German intellectual who briefly until Judgement Day unless he be saved by a befriended him during several years of In December 1842 a local arts journal If the legend of the Flying Dutchman has woman’s devotion. In his stupidity the devil penniless living and (despite a letter of reported the preparation of a new work at the any basis in fact, it surely grew up from events does not believe in woman’s devotion and so commendation from the powerful and well- Saxon Court Opera in Dresden. ‘A second in the Anglo-Dutch trade rivalry and wars of allowed the doomed captain to go ashore once established Meyerbeer) failure to make his opera by Richard Wagner, who has become the seventeenth and eighteenth centuries, the every seven years, to marry and in that way to name in the French capital. After the famous overnight through his Rienzi, is being period when Dutch merchantmen were seek his salvation.’ So Heine’s conversation between poet and composer a energetically rehearsed for production… it is regularly rounding South Africa’s Cape of Schnabelewopski gets to see ‘Mrs Flying mutual friend predicted about Wagner that entitled The Flying Dutchman, and Wagner has Good Hope. (A recent Dutch TV Dutchman’ fling herself off a clifftop, as a ‘from an individual so replete with modern combined Heine’s fantastic story and the documentary even wondered whether the result of which ‘the curse is lifted, the culture, it is possible to expect the English narrative with some additions of his phrase ‘Vliegende Hollaender’ was a Dutchman is saved, and we see the ghostly development of a solid and powerful modern own.’ corruption of the name ‘Vergulde Vlamingh’ ship sinking into the depths of the ocean.’ music’. The first notes of a ‘solid and powerful The ‘fantastic story’ was by the German (‘Gold-plated Fleming’), a hard-driving Dutch Heine intended this new twist to the ending modern music’ were certainly heard in the poet Heinrich Heine, who had an affectionate sea-captain of that era.) Later, in the 1790s – as a mickey-take of what he regarded as a Dutchman score, where Wagner explored the obsession for all things Dutch. Heine’s From coincidentally a flood of poems and stories in sentimental and romanticised ghost story. ‘The art of characterisation by harmonic language as the Memoirs of Herr von Schnabelewopski English and American literature started to moral of this piece, as far as women are well as by colour, rhythm and tempo: a (1834) has his travelling hero discover the appear treating the theme of a cursed sailor on concerned’, he concludes, ‘is that they should dramatic, modern chromaticism for the Dutchman legend as a play in an Amsterdam an eternal voyage. Samuel Coleridge Taylor’s beware of marrying a Flying Dutchman; and Dutchman himself, his suffering and his theatre: ‘You will all be familiar with the story Rhyme of the Ancient Mariner, Sir Walter we men should draw from it the lesson that would-be rescuer Senta, and a rum-ti-tum old- of that doom-laden ship which can never enter Scott’s Rokeby, James Fenimore Cooper’s The women at best will be our ruin.’ But Wagner style, grand operatic diatonicism for the the shelter of a port and which has now been Red Rover and Edgar Alan Poe’s The Narrative took the possibility of the Dutchman’s bourgeois domesticity of Daland, Mary and roaming the seas from time immemorial. That of Arthur Gordon Pym are perhaps the best salvation very seriously indeed, noting in an the spinning girls. When Wagner began the dreadful ship bore its captain’s name, a crafted of what that Dresden correspondent Autobiographical Sketch: ‘Heine’s dramatic music of the new opera in Paris, he was Dutchman who once swore by all the devils rightly called ‘the English narrative’ version of treatment – his own invention – of the hoping for a successful audition with some of that he would round some cape or other in the legend. redemption of this Ahasuerus (the Wandering its numbers at the famed Opéra. He was to spite of the most violent storm which was At first the play which Heine’s hero attends Jew) of the sea gave me all I needed to use the end up with nothing but a small amount of raging – even if he had to keep sailing until looks like a straight retelling of the legend, but legend for an opera subject. I came to an money from selling his scenario for the work the Day of Judgement.’ then it suggests a way out for the doomed agreement with Heine himself…’ to their management.

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Heine’s story, his meeting the author and Anna, her father Donald or just ‘the dramatist, a belief embraced by the Bayreuth the past has been formally expiated. As the life of a struggling artist in Paris were Scotsman’, and Erik was Georg). This was Festival which has always declined to stage any Edward Fitzball, author of the Phantom Ship important spurs to Wagner’s Dutchman presumably because not only the Heine story of his earlier works. musical, noted in his memoirs: ‘These sorts of project, but there was also an but also a best-selling German horror story of Although the Dutchman made a dimmer drama were then very much in vogue and The autobiographical, ‘on-site’ element to the story. the time which Wagner knew called The Cave impression at its Dresden premiere than had Flying Dutchman was not by any means If Wagner first read Heine’s story during his at Steenfoll and a popular contemporary the bright star of the lengthy, loud and behind even Frankenstein or Der Freischütz music directorship in Riga, it would have been musical (probably known to Heine) called The altogether more conventional Rienzi, the new itself in horrors and blue fire.’ fresh in his mind during the interrupted sea Flying Dutchman, or The Phantom Ship were work’s eventual acceptance was guaranteed by Wagner’s own libretto drew on features voyage he made from Russia to France in all set in Scotland, the remote mythical home the fact that Wagner had at last got his hands common to many versions of the phantom summer 1839. This journey cast Wagner, of caves, wrecks and sea ghosts. Then upon a genuinely popular subject. Aside from ship story: the ghost crew’s attempt to have almost literally, up on the shore of the (apparently) Wagner suddenly changed his the work of the authors mentioned above, letters delivered home to addressees who prove southern Norwegian coast at the very spot mind and moved the story to Norway. Why? there were in the first decades of the to be long dead (mocked by the Norwegian (Sandvika on the island of Borøya) where his It may have been that he heard that an opera, nineteenth century two widely circulated (and sailors in the quayside scene), the magical opera would eventually be set. Although local inspired (not very closely) by the Dutchman translated) British novels – John Howison’s sailing properties of the Dutchman’s bewitched Norwegian research has subsequently gone sketch which he had sold, had just opened in Vanderdecken’s Message Home (the first known ship (remarked by the Dutchman himself in into overdrive to trace every step of Wagner’s Paris, and he wanted to distance his original text to name the ghostly captain) and the Sandwike scene), and the old family two-day stay and to find its equivalents in the from that project. Or he may have wanted to Frederick Marryat’s The Phantom Ship (which portrait of the Dutchman himself (ever present Dutchman libretto, it can at present only be blur the issue of his debt to Heine. (Thirty has a redemption ending and launched a mini- throughout the action inside Daland’s house). said with safety that the Thetis (his ship) did years later Wagner’s rewritten memoirs would Flying Dutchman craze in Holland) – and a In a breakthrough in his creation of a new indeed shelter at Borøya from a ferocious claim that ‘Heine’s treatment was borrowed number of original or translated Dutch plays operatic form parallel to his use of different storm that July, and that the island’s granite from a Dutch play bearing the same title’, (which Heine could actually have seen on his harmonic language to stress characterisation, cliffs make up an echoing wall that may have forgetting altogether the poet’s ‘own invention’ regular visits to the country). It’s no accident Wagner was able to mix and match the inspired the echo calls of the sailors’ chorus in of the redemption ending.) Or perhaps also that the first vampire tales of Polidori and influences and references from his reading the opera’s opening scene. because it chimed with an idea he was Byron, and Mary Shelley’s Frankenstein are the with a novelist’s insight. The recent scientific However, the importance of Norway to the beginning to develop that the creation of a exact contemporaries of these maritime ghost experiments of Mesmer with magnetism, and opera went beyond literal influences. Until work should always be linked to ‘real’ events narratives of the Dutchman. Both these the Romantic fascination of the age with only weeks before the Dutchman’s January in a true artist’s life. Later Wagner insisted that strands of story use the idea of the dead dreams and trances, find their place in his 1843 premiere the action was set in Scotland this 1843 ‘romantic opera’ was the true coming back to life, or characters being unable libretto in Senta’s obsession with the (Act I took place at ‘Holystrand’, Senta was starting point of his career as poet and music to die until some crime or sin committed in Dutchman’s portrait and her instant

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identification with the dream in which Erik Scotland. It includes a ballad sung by a local Ludwig II in Munich, he considered entirely Synopsis predicts the action of the rest of the opera. girl about the vampire legend which describes rewriting Senta’s Ballad, work which got no Going beyond the simple idea of a-life-for-a- the anti-hero with the identical phrase Senta further than a rough sketch. COMPACT DISC ONE life proposed by the climax of Heine’s story, finds for the Dutchman, ‘den bleichen Mann’ Wagner himself was never able to realise Wagner arrived at a psychoanalytical (‘the pale man’, a common tag for sexually what seems to have been his ideal of The action is set on the Norwegian coast perception of the central core of the desired un-deads in nineteenth-century presenting the opera in one act. It is Dutchman legend. His story becomes one of literature). performed like that on the present recording, Scene 1 restoration in which the dreamer (the cursed Putting his own wide reading and listening which also incorporates the completed 1 – 2 Daland’s ship, almost home, is forced sailor) has to be returned to his original, ‘right’ to fullest advantage, Wagner was not only able changes Wagner made to the score during his to anchor seven miles up the coast to find state of mind before his mad act of hubris (the to make his Dutchman a classic of what lifetime. shelter from a violent storm. He thinks of his oath to round the cape at any cost). This became known as the Schauerromantik (‘horror daughter, Senta. The exhausted crew soon fall restoration can only be achieved when a romance’) genre but to transcend his rivals, © 2004 Mike Ashman asleep, including the Steersman whom Daland human being from ‘normal’ life comes to much as Shakespeare’s Hamlet had done for has placed on watch. understand fully and to feel compassion for Jacobean tragedy and Puccini’s Tosca would for The Legend of the Flying Dutchman 3 A second ship now appears – that of the the action and sufferings of the dreamer. verismo opera. As his career developed Wagner A Dutch sea captain of a merchant ship, Flying Dutchman. The Dutchman recounts Wagner also introduced influences from less returned to the Dutchman score with affection caught in terrible seas as he tried to round the how he has tried to end his life of eternal specific sources. Ahasuerus’s frustrated but, whenever he himself led performances, Cape of Good Hope, swore that he would torment by drowning himself, running his attempts at suicide in Nicholas Lenau’s epic never without making some changes. First he succeed even if this took him until the Day of ship aground and battling with pirates – all to poems about the Wandering Jew suggested the softened the brashness of parts of the original Judgement. Satan heard this blasphemy and no avail. failure of the Dutchman (as told in his scoring, especially for the brass. (Hector condemned him and his crew to sail the seas 4 Daland appears back on deck and chides opening monologue) to run his ship aground Berlioz, in a generally favourable review of an for all eternity. The Dutchman was granted the Steersman for failing to keep watch. They or have himself killed by pirates. The placing early Dresden performance, had criticised a one chance of redemption: that he be see the Dutchman’s ship and Daland offers the and content of Senta’s Ballad – some of the dependence on tremolando effects and permitted to leave his ship once in every seven Dutchman his hospitality. The Dutchman first music for the opera composed in Paris – diminished sevenths.) Then he altered the years to seek a woman whose love would be boards Daland’s ship and offers him vast owe much to the heroine’s Ballad in ending of both overture and opera in the light true to him until death. This fidelity alone wealth in return for a night’s hospitality and Boieldieu’s The White Lady, Act II of which of his ‘new’ Tristan-style transformation music, could lift the curse. Another term of seven also the possibility of marriage to Daland’s even begins with a spinning scene. Marschner, presenting a clearer musical illustration of the years has now expired and the Dutchman daughter, Senta. A change in the wind a contemporary whose scores Wagner both story’s redemptive ending. Finally, while again comes ashore to seek again a woman allows both ships to set sail for Daland’s home knew and conducted, set his The Vampire in working on a ‘model’ production for King who will save him from his endless fate. port.

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Scene 2 homecoming, the Dutchman’s crew remain and has also appeared with Opera North, and Arkel (Pelléas et Mélisande), Boromeo 5 Under the supervision of Daland’s silent and even refuse offers of food and drink. Scottish Opera, Glyndebourne Festival and (Palestrina), Dosifey (Kovanshchina) and title housekeeper, Mary, the women work in The Norwegians become uneasy at the silence Touring Operas and Kent Opera. He has sung roles in Boris Godunov, Oberto and Attila. Daland’s house while the men are at sea of the other crew. When they finally do at the Bayreuth Festival every year since 1988, John Tomlinson has a large concert respond, it is with an other-worldly song where he has been heard as Wotan (Das repertoire and has sung with all the leading COMPACT DISC TWO which sends the Norwegians fleeing in terror. Rhinegold and Die Walküre), the Wanderer British orchestras and in Germany, Italy, 8 – 9 Erik pleads with Senta to honour (Siegfried), Titurel and Gurnemanz (Parsifal ), Belgium, Holland, France, Spain, Denmark 1 Senta is preoccupied by the legendary their childhood promises. 10 The Dutchman Mark (Tristan und Isolde), Heinrich and the U.S.A. His many recordings include, Dutchman and relates his story to her overhears their exchange and, despite Senta’s (Lohengrin) and Hagen (Götterdämmerung). Donizetti’s Gabriella di Vergy for Opera Rara, companions; she announces herself as the one assurances, he believes himself to be betrayed, Foreign engagements include Geneva, and for Chandos’ Opera in English series, whose love will redeem him. his only hope of redemption lost. He makes to Lisbon, New York, Chicago, San Francisco, Julius Caesar, Mary Stuart, Rigoletto, Werther, There has been an understanding that Senta return to his ship, and as the Dutchman sets San Diego, Paris, Amsterdam, Berlin discs of highlights from Boris Godunov and is to marry the huntsman Erik, her childhood sail, Senta sacrifices herself. The Dutchman is (Deutsche Oper and Deutsche Staatsoper), Der Rosenkavalier, and two discs of Great sweetheart. 2 Erik appears, deeply troubled thus redeemed. Dresden, Munich and Vienna, and the Operatic Arias. by Senta’s obsession with the legend of the Festivals of Orange, Aix-en-Provence, John Tomlinson was awarded a CBE in the Dutchman; he tells her about a dream he had John Tomlinson was Salzburg, Edinburgh and the Maggio 1997 New Year’s Honours list. in which he saw Daland return home born in Lancashire. Musicale, Florence. His repertoire further accompanied by the Dutchman, following He gained a degree in includes Hans Sachs (Die Meistersinger von Born in Stockholm, which she left across the sea with him. This Civil Engineering at Nürnberg), Landgraf (Tannhäuser), the title Nina Stemme studied serves only to intensify her preoccupation and Manchester University role in Der fliegende Holländer (The Flying viola at the Adolf Erik departs in despair. before winning a Dutchman), Baron Ochs (Der Rosenkavalier), Fredrik School of 3 – 4 Daland arrives with the Dutchman, scholarship to the Orestes (Elektra), Moses (Moses und Aron), Music. Whilst whom Senta at once recognises. 5 – 6 Left Royal Manchester Green Knight in the world premiere of persuing studies in alone together, Senta reveals that in herself the College of Music (now Harrison Birtwistle’s Gawain and the Green business Dutchman has found the salvation he has the Royal Northern Knight, Rocco (Fidelio), King Philip (Don administration and sought for so long. College of Music). Carlos), Sarastro (Die Zauberflöte), economics in John Tomlinson has sung regularly with Commendatore (Don Giovanni), the four roles Stockholm she also Scene 3 English National Opera since 1974, and with of Lindorf, Coppelius, Dr Miracle and took a course at the Stockholm Opera Studio 7 While Daland’s crew celebrate their safe the Royal Opera, Covent Garden, since 1977, Dapertutto in Les Contes d’Hoffmann, Golaud and completed her vocal studies at the

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National College of Opera in Stockholm. She and Marie (Wozzeck) at the Opéra National de Bavarian State Opera in Munich, the Vienna established as a leading international operatic has been a finalist of the Cardiff Singer of the Lyon . Staatsoper, and the Teatro Colón in Buenos and concert artist. World and winner of the Placido Domingo Concert appearances include Beethoven’s Aires, as well as the opera companies of San Her many operatic appearances include the Competitions. Ninth Symphony, Strauss’ Four Last Songs, and Francisco, Dallas, Houston, Santa Fe and title role in Tancredi and Arsace (Semiramide) In 1995 she joined the Cologne Opera the final scene from Strauss’ Capriccio, with Washington. at La Fenice in Venice; the title role in Carmen where roles included Pamina (Die Zauberflöte), conductors such as Roberto Abbado and He has appeared in concert with the at the Hamburg Staatsoper, Welsh National the Countess (Le nozze di Figaro), Mimì (La Antonio Pappano. Chicago Symphony, San Francisco Symphony, Opera and Scottish Opera; the title role in Bohème) and Agathe (Der Freischütz). She has St Louis Symphony, National Symphony, La Cenerentola at La Monnaie and Lausanne; made guest appearances at De Vlaamse Opera Illinois-born bass Eric Houston Symphony, Boston Symphony, the the title role in Orlando in New York, Paris, as Elisabeth (Tannhäuser); in Hamburg as Halfvarson sings Minnesota Orchestra, the London Lyon, and Antwerp; Penelope (Il ritorno Freia and Gutrune in Wagner’s Ring cycle; in regularly with the Philharmonic Orchestra, the Halle Orchestra, d’Ulisse in patria) at the Maggio Musicale and Göteborg as Tosca; in Dresden as the Countess world’s most at Amsterdam’s Concertgebouw and the in Athens; Cornelia (Giulio Caesare) and (Le nozze di Figaro); Katerina (Greek Passion) prestigious opera Edinburgh Festival, as well as with orchestras Amastris (Serse) at the Munich Staatsoper, at the Bregenz Festival; as Sister Angelica companies and in Paris, Seville and Valencia. Dresden and Montpellier; Anna (Les Troyens) (Il trittico) in Cologne as well as in the role of symphony orchestras. Eric Halfvarson’s recordings include Don at the Maggio Musicale; Smeton (Anna Elsa (Lohengrin) in Basel. His formidable Carlos, Billy Budd, Shostakovich’s Rayok, and Bolena) in San Francisco; the title role in Other highlights include Senta at the interpretations of such Barber’s Antony and Cleopatra. Tamerlano in Beaune; Ursule (Beatrice and Metropolitan Opera, the Wiener Staatsoper varied and demanding Benedict) in Amsterdam and for Welsh and at the Vlaamse Opera; Marguerite (Faust) roles such as Baron Ochs (Der Rosenkavalier), Dublin-born Patricia National Opera; Ruggiero (Alcina) in and Elisabeth (Tannhäuser) at the Savonlinna Hagen (Götterdämmerung), Claggart (Billy Bardon studied with Montpellier; Bradamante (Alcina) in Festival; Manon Lescaut at English National Budd ), Sarastro (Die Zauberflöte), King Philip Dr Veronica Dunne at Drottningholm; Rosmira (Partenope) with Opera; Tatjana (Eugene Onegin) at La Monnaie and the Inquisitor (Don Carlos), Heinrich the College of Music, Chicago Lyric Opera; roles in Guillaume Tell, in Brussels; Katerina (Lady Macbeth of Mzensk) (Lohengrin), Hunding (Die Walküre) and and came to Mosè in Egitto, Rigoletto, Mephistofele, and at the Geneva Opera; Sieglinde (Die Walküre) Mephistopheles (Faust) have been seen with prominence as the La fanciulla del West at The Royal Opera, as in Cologne, Nyssia (König Kandaules) at the such companies as the Opéra de Paris-Bastille, youngest ever prize- well as numerous roles for Opera North, Salzburg Festival; Isolde (Tristan und Isolde) at the Bayreuth Festival, The Royal Opera, the winner in the Cardiff Welsh National Opera, and Glyndebourne. the Glyndebourne Festival and the Royal Metropolitan Opera in New York, Lyric Opera Singer of the World Patricia Bardon has an extensive and diverse Opera in Stockholm; the Marschallin of Chicago, the Canadian Opera, La Fenice in Competition. Since concert repertoire working with many of the (Der Rosenkavalier) at the Göteborg Opera, Venice, Teatro Liceu in Barcelona, the then, she has become major orchestras in venues such as the Lincoln

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Center, Concertgebouw, La Scala, South Bank, National Opera. The major Janácˇek roles that Symphony No. 9 and Missa Solemnis, and Ekebù) at the Wexford Festival, and Satyavan Berlin, Madrid, Brussels, the London Proms, have featured heavily in his career were Mahler’s Das Lied von der Erde and Symphony (Savitri) at the Aldeburgh Festival, and he has Edinburgh Festival, and has given recitals in debuted at Glyndebourne, and it was the No. 8. A varied discography includes Falstaff, had a great success singing Rodolfo in a new Tokyo, Aix-en-Provence, Covent Garden, venue for his first Florestan (Fidelio). For Salome, Das Rheingold and the Grammy award- production of La Bohème at London’s Royal Montreux and Dublin. English National Opera, he has performed winning Dr Faustus by Busoni. Albert Hall. Peter Wedd has sung Tamino and Recordings include Orlando, Elijah, Eugene principal roles by Britten, Janácˇek and Eisenstein (Die Fledermaus) for European Onegin, Serse in a live recording from the Mussorgsky as well as Wagner’s Parsifal. Peter Wedd studied at Chamber Opera as well as Lysander (A Munich Staatsoper, Rigoletto and, as part of He has performed at the opera houses in the Guildhall School Midsummer Night’s Dream) for the Singapore Chandos’ Opera in English series, the title role Frankfurt (Lohengrin), Geneva (Boris of Music and Drama Lyric Theatre. in Carmen. Godunov), Cologne (Das Rheingold ), with the late William He is much in demand as a concert artist Barcelona (The Makropoulos Case), Lyon McAlpine and and has worked with orchestras including the On completion of (Dr Faustus), Berlin (Der Freischütz), Brussels subsequently at the London Philharmonic, Royal Scottish his studies, British (Khovanshchina), Toulouse (Die Walküre, Peter National Opera National, City of London Sinfonia, Northern tenor Kim Begley Grimes), as well in Amsterdam (Peter Grimes), Studio. He was a Sinfonia and the Bournemouth Symphony. joined the Royal Paris at both the Bastille (Mahagonny, Billy Company Principal at Peter Wedd has appeared at the Covent Gavin Wilkinson Gavin Opera House, Budd, The Flying Dutchman) and the Châtelet the Royal Opera Garden and Edinburgh Festivals and abroad at Covent Garden as a (Fidelio, Dr Faustus), at La Scala Milan House, Covent Garden from 1999 to 2001 the Maribor Festival, Slovenia and the Cernier principal tenor, and (Der Freischütz, Das Rheingold ) and at the and is a regular guest artist with Welsh Festival in Switzerland. appearances there Berlin Staatsoper (Der Freischütz). At the Lyric National Opera. As a Company Principal of Recordings in Chandos’ Opera in English have included Katya Opera of Chicago he has performed The the Royal Opera he sang Ywain (Gawain and series include Turandot and Jenu˚fa. Kabanova, Pfitzner’s Makropoulos Case, Mahagonny, Billy Budd and the Green Knight) and Kudrjas (Kat’á Palestrina, Billy Budd The Flying Dutchman, and he made his Kabanová). At Welsh National Opera his roles Geoffrey Mitchell’s singing career has and Wozzeck. Covent Garden has also been the Metropolitan Opera debut as Lacˇa ( Jenu˚fa). In have included Don José (Carmen), Tamino encompassed a remarkably wide repertoire stage for two of Kim Begley’s major Wagnerian 2000 Kim Begley made his debut at the (Die Zauberflöte), Don Ottavio (Don from early to contemporary music and has debuts: Siegmund under Bernard Haitink, and Bayreuth Festival as Loge in the Ring cycle, Giovanni) and Lacˇa ( Jenu˚fa). taken him to Scandinavia, Germany, the Erik under Simone Young. conducted by the late Giuseppe Sinopoli. Other appearances in the UK and Ireland former Czechoslovakia, Canada and Throughout his career, Kim Begley has also A versatile concert artist, Kim Begley’s core have included Federico (L’Arlesiana) and Pluto Australasia. Early conducting experience with enjoyed a continuing relationship with both repertoire includes Britten’s War Requiem, (Orphée aux enfers) for Opera Holland Park, the BBC led to a wider involvement with his the Glyndebourne Festival and English Elgar’s Dream of Gerontius, Beethoven’s Kyska (Sˇarkatán) and Julius (I cavalieri di own singers and in turn to the establishment

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of the Geoffrey Mitchell Choir. Early Hall. It has also been Resident Symphony He is a frequent visitor to Spain where he recordings under the sponsorship of the Peter recordings resulted in the Choir’s long-term Orchestra at Glyndebourne Festival Opera for has given concerts with most of the major Moores Foundation. Among these are involvement with Opera Rara for which it has the past thirty-eight years. Spanish orchestras. He conducted the Spanish numerous discs for the Opera Rara label which made over thirty recordings. The Choir is premiere of Peter Grimes in Madrid and in have won several awards, including the Belgian enjoying a growing reputation with further David Parry studied 1996 the first Spanish production of Prix Cecilia for Donizetti’s Rosmonda work from the BBC and international record with Sergiu The Rake’s Progress. He has appeared in d’Inghilterra. For Chandos he has conducted a companies. For Chandos the Geoffrey Celibidache and Germany, Switzerland, and The Netherlands, series of recitals of operatic arias – with Bruce Mitchell Choir has participated in numerous began his career as at the Pesaro Festival in Italy, the Hong Kong Ford, Diana Montague, Dennis O’Neill, recordings in the acclaimed Opera in English Sir John Pritchard’s International Festival, in Japan with a tour of Alastair Miles, Yvonne Kenny, John Tomlinson, series sponsored by the Peter Moores assistant. He made Carmen, and in Mexico with the UNAM Della Jones and Andrew Shore – as well as Foundation. his debut with Symphony Orchestra. Recent new productions The Marriage of Figaro, A Masked Ball, English Music he has conducted include Fidelio at the New Idomeneo, Carmen, The Thieving Magpie, Don The London Philharmonic Orchestra has a Theatre, then Zealand Festival, Lucia di Lammermoor at New Giovanni, Don Pasquale, The Elixir of Love, long-established reputation for its versatility became a staff Israeli Opera and Don Giovanni at Staatsoper Lucia of Lammermoor, Ernani, Il trovatore, and artistic excellence. These traits are evident conductor at Städtische Bühnen, Dortmund Hannover. Aida, Faust, Cavalleria rusticana, Pagliacci, from its performances in the concert hall and and at Opera North. He was Music Director His work in the recording studio includes La bohème, Turandot, the award-winning Tosca opera house, its many award-winning of Opera 80 from 1983 to 1987 and since the BBC Television production of Marschner’s and highlights from Der Rosenkavalier, all in recordings, its trail-blazing international tours 1992 has been the founding Music Director of Der Vampyr and twenty-eight complete opera association with the Peter Moores Foundation. and its pioneering education work. Kurt Almeida Opera. Masur has been the Orchestra’s Principal He works extensively in both opera and Conductor since September 2000. Previous concert, nationally and internationally. He has holders of this position, since its foundation in conducted several productions at English 1932 by Sir Thomas Beecham, have included National Opera and Opera North and appears Sir Adrian Boult, Sir John Pritchard, Bernard regularly with the Philharmonia and London Haitink, Philharmonic Orchestras. In 1996 he made his Sir Georg Solti, Klaus Tennstedt and Franz debut at the Glyndebourne Festival Welser-Möst. Since 1992 the London conducting Così fan tutte, following it in 1998 Philharmonic Orchestra has been Resident with the world premiere of Jonathan Dove’s Symphony Orchestra at the Royal Festival Flight.

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Nina Stemme as Senta at the Vienna State Opera Pratt Carol Axel Zeininger/Vienna State Opera State Zeininger/Vienna Axel

Eric Halfvarson as Rocco in Washington National Opera’s production of Beethoven’s Fidelio

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British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 of a Faculty Directorship and Chair of Management Studies at Oxford University (providing to realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust the lead donation which paved the way for the development of the Said Business School). in 1993 to create a new art gallery in the country. Through his charities he has disbursed more than £93 million to a wide variety of arts, environmental and social causes ‘to get In 1993 the Foundation bought Compton Verney, a Grade 1 Georgian mansion in things done and open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a world-class art gallery that would provide an especially welcoming environment for the number of young artists in the crucial, early stages of their careers, several of whom – ‘first-time’ gallery visitor. The gallery, which houses six permanent collections, a Learning Dame Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – Centre for all ages, and facilities for major visiting exhibitions, was opened in March 2004 became world-famous. by HRH the Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk Today, the Peter Moores Foundation supports talented young singers with annual scholarships awarded through the Royal Northern College of Music, has made it possible Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, for Chandos Records to issue the world’s largest catalogue of operas recorded in English Oxford. He was a student at the Vienna Academy of Music, where he produced the translation, and enabled Opera Rara to record rare bel canto repertoire which would Austrian premiere of Benjamin Britten’s The Rape of Lucretia, and worked as an assistant otherwise remain inaccessible to the general public. producer with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in In live performance, the Foundation has encouraged the creation of new work and 1976, Chairman from 1977 to 1980 and remained a director until 1993. schemes to attract new audiences, financed the publication of scores, especially for world premieres of modern operas, and enabled rarely heard works to be staged by British opera He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ companies and festivals. Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by Projects supported by the Foundation to help the young have ranged from a scheme to HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment his charitable services to the arts.

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Scotts Rokeby, James Fenimore Coopers The die Krone aufsetzen. Sein Fazit: “Die Moral Wie Wagner den Fliegenden Holländer entdeckte Red Rover und Edgar Alan Poes The Narrative des Stückes ist für die Frauen, dass sie sich in of Arthur Gordon Pym sind vielleicht die acht nehmen müssen, keinen fliegenden Im Dezember 1842 berichtete die Zeitung für dessen Name mir entfallen, trotz des heftigsten gelungensten Beispiele für das, was der Holländer zu heuraten, und wir Männer die elegante Welt aus Dresden von der Sturms, der eben wehte, umschiffen wolle, Dresdner Korrespondent kurz und knapp die ersehen aus diesem Stücke, wie wir durch die Vorbereitung einer Neuinszenierung am und sollte er auch bis zum jüngsten Tage “englische Erzählung” der Geschichte nannte. Weiber, im günstigsten Falle, zu Grunde Königlich Sächsischen Hoftheater: “Von dem segeln müssen.” Zunächst hat es den Anschein, als ob das gehn.” Aber Wagner nahm den Gedanken, so mit einem Schlage berühmt gewordenen Wenn die Geschichte vom fliegenden von Heines Herrn Schnabelewopski erlebte dass der Holländer sein Heil finden könnte, Komponisten des Rienzi, Richard Wagner, Holländer eine historische Grundlage haben Schauspiel die Geschichte nur nacherzählt, sehr viel ernster und bemerkte 1843 in seiner wird bereits mit eifriger Eile die zweite Oper sollte, so dürfte sie wohl in den kriegerischen doch dann öffnet sich ein Weg zur Erlösung Autobiographischen Skizze: “Die von Heine einstudirt … Ihr Name ist Der fliegende Handelsrivalitäten zwischen Holland und des Holländers: “Der Teufel hat ihn beim erfundene, echt dramatische Behandlung der Holländer, und Wagner hat auch hier theils England während des 17. und 18. Wort gefasst, er muss bis zum jüngsten Tage Erlösung dieses Ahasverus des Ozeans gab mir nach Heine's phantastischer Sage, theils nach Jahrhunderts zu suchen sein, in jener Zeit also, auf dem Meere herumirren, es sei denn, dass alles an die Hand, diese Sage zu einem der englischen Erzählung und mit eigener als holländische Schiffe regelmäßig das Kap er durch die Treue eines Weibes erlöst werde. Opernsujet zu benutzen. Ich verständigte mich Zuthat den Text selber zusammen gesetzt.” der guten Hoffnung umrundeten. (In einem Der Teufel, dumm wie er ist, glaubt nicht an darüber mit Heine selbst…” Mit der “phantastischen Sage” ist die Dokumentarfilm des niederländischen Weibertreue, und erlaubte daher dem Wagner hatte Heine in Paris, wo der Geschichte Aus den Memoiren des Herren von Fernsehens wurde unlängst sogar die verwünschten Kapitän alle sieben Jahre einmal Dichter bereits im Exil lebte, persönlich Schnabelewopski (1834) gemeint, in der Überlegung angestellt, dass der Begriff an Land zu steigen, und zu heuraten, und bei kennengelernt. Die kurze Bekanntschaft fiel in Heinrich Heines reiselustiger Held den Stoff “Vliegende Hollaender” eine Verballhornung dieser Gelegenheit seine Erlösung zu jene Jahre, als es dem mittellosen als Schauspiel in einem Amsterdamer Theater von “Vergulde Vlamingh” sein könnte, denn betreiben.” Schnabelewopski berichtet sogar, Komponisten selbst mit einem erlebt: “Die Fabel von dem fliegenden unter diesem Spitznamen – “Der vergoldeter wie “Frau Fliegende Holländer” sich von einer Empfehlungsschreiben von seinem Holländer ist Euch gewiss bekannt. Es ist die Flame” – war ein hartgesottener holländischer Felsenklippe ins Meer stürzt, um ihren Mann einflussreichen Vorbild Meyerbeer einfach Geschichte von dem verwünschten Schiffe, das Seekapitän jener Zeit bekannt.) Kurz vor der zu retten: “… nun ist auch die Verwünschung nicht gelang, in der französischen Hauptstadt nie in den Hafen gelangen kann, und jetzt Wende zum 19. Jahrhundert verbreiteten sich des fliegenden Holländers zuende … und wir zu reüssieren. Der Schriftsteller und schon seit undenklicher Zeit auf dem Meere dann in der angloamerikanischen Literatur die sehen, wie das gespenstische Schiff in den Theaterdirektor Heinrich Laube war bei dem herumfährt … jenes grauenhafte Schiff führt verschiedensten Dichtungen und Erzählungen Abgrund des Meeres versinkt.” Ideenaustausch zwischen Heine und Wagner seinen Namen von seinem Kapitän, einem über einen fluchbeladenen Seefahrer auf Mit dieser Schlusswendung wollte Heine zugegen und bemerkte anschließend über den Holländer, der einst bei allen Teufeln endloser Reise. Samuel Coleridge Taylors der nach seinem Empfinden sentimentalen Komponisten: “Aus einer solchen mit unsrer geschworen, dass er irgendein Vorgebirge, Rhyme of the Ancient Mariner, Sir Walter und romantisierten Schauergeschichte ironisch heutigen Bildung erfüllten Persönlichkeit

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[muss] eine tüchtige moderne Musik sich gestoßen, und der Stoff muss ihm lebhaft Steenfoll und ein erfolgreiches zeitgenössisches seiner Karriere als Dichter und entwickeln.” Die ersten Klänge einer bewusst gewesen sein, als er in Sommer 1839 Singspiel (auch wohl Heine bekannt) mit dem Musikdramatiker darstellte – eine “tüchtigen modernen Musik” waren sicherlich auf der Schiffsreise von Russland nach Titel The Flying Dutchman, or The Phantom Überzeugung, der sich die Direktion der in der Holländer-Partitur zu vernehmen, in der Frankreich an die südnorwegische Küste Ship alle in Schottland, jenem Bayreuther Festspiele auf jeden Fall anschließt, Wagner Pionierarbeit für die Kunst der verschlagen wurde – nach Sandvika auf der sagenumwobenen Hort von Höhlen, Wracks denn dort hat man es stets abgelehnt, ältere Charakterisierung nicht nur durch Farbe, Insel Borøya, dem späteren Schauplatz seiner und Seeungetümern, angesiedelt waren. Dann Werke zu inszenieren. Rhythmus und Tempo, sondern auch durch Oper. Bei allen Bemühungen der örtlichen jedoch dachte Wagner offenbar um und Obwohl der Holländer auf das die Harmoniesprache leistete: eine Historiker, den zweitägigen Aufenthalt verlagerte das Geschehen nach Norwegen. Premierenpublikum in Dresden weniger dramatische, moderne Chromatik für den Wagners in allen Einzelheiten zu Warum? Vielleicht hatte er erfahren, dass Eindruck machte als der strahlende, lange, Holländer selbst, sein Leid und seine Erlöserin dokumentieren und Entsprechungen im unlängst in Paris eine Holländer-Oper laute und rundum konventionellere Rienzi, Senta sowie eine altmodische, grandiose Holländer-Libretto zu finden, lässt sich zur angelaufen war, die – wenn auch nicht allzu war dem neuen Werk seine spätere Rumtitum-Diatonik für die kleinbürgerliche Zeit mit Gewissheit lediglich feststellen, dass getreu – auf dem von ihm verkauften Sujet Anerkennung gesichert, denn hier hatte Häuslichkeit von Daland, Mary und den die Thetis (sein Schiff) in jenem Juli beruhte, so dass er bemüht war, sich von dem Wagner zum erstenmal ein echtes Spinnerinnen. Als Wagner den Holländer in tatsächlich auf Borøya Zuflucht vor einem Projekt zu distanzieren. Vielleicht wollte er Erfolgsthema verarbeitet. Neben den Werken Angriff nahm, hoffte er darauf, durch die schweren Sturm suchte und die Granitklippen aber auch kaschieren, wie stark er Heine der bereits erwähnten Autoren waren in den Vorführung einige seiner Nummern einen der Insel eine Echowand bilden, die den verpflichtet war. (Drei Jahrzehnte vermisste ersten Jahrzehnten des 19. Jahrhunderts zwei Kompositionsauftrag von der berühmten Matrosenchor in der Eröffnungszene inspiriert man in der revidierten Autobiographischen weitere britische Romane gut bekannt: John Grand-Opéra zu erhalten. Daraus wurde haben könnte. Skizze Wagners den Hinweis auf die vom Howisons Vanderdecken’s Message Home (mit letzten Endes nichts. Man war lediglich bereit, Norwegen sollte auf die Oper stärkeren Dichter “erfundene, echt dramatische der ersten namentlichen Erwähnung des ihm das Sujet abzukaufen, und obwohl der Einfluss nehmen als die literarischen Behandlung der Erlösung” – dort es hieß nur geisterhaften Kapitäns) und Frederick Erlös gering war, willigte er ein. Strömungen. Noch Wochen vor der noch, Heine habe seine Geschichte “einem Marryats The Phantom Ship (dieser Roman Heines Erzählung, die Begegnung mit dem Uraufführung des Holländers im Januar 1843 holländischen Stück gleichen Titels hatte bereits einen Erlösungsschluss und löste Dichter und das Leben eines armen Künstlers sollte Schottland der Schauplatz der Handlung entnommen”). Möglicherweise fand Wagner in Holland zeitweilig eine Welle der in Paris waren wichtige Motivationen für sein (der erste Akt begann in “Holystrand”, auch langsam Gefallen an dem Gedanken, dass Begeisterung aus); außerdem gab es eine Reihe Wagners Holländer, doch hat die Senta hieß noch Anna, ihr Vater Donald oder die Schöpfung eines Werkes immer mit holländischer Schauspiele (die Heine bei Entstehungsgeschichte auch einen nur “der Schotte”, und Erik trug den Namen “wirklichen” Begebenheiten im Leben eines seinen regelmäßigen Besuchen dort gesehen lokalisierenden autobiographischen Aspekt. Georg). Zu erklären ist dies wohl dadurch, wahren Künstlers verknüpft sein sollte. Später haben könnte). Es ist auch kein Zufall, dass Wagner war während seiner Zeit als dass nicht nur die Heine-Fabel, sondern auch stand für Wagner fest, dass diese “romantische die ersten Vampirgeschichten von Polidori und Musikdirektor in Riga auf den Heine-Text das bekannte Hauff-Märchen Die Höhle von Oper” von 1843 den eigentlichen Beginn Byron sowie Mary Shelleys Frankenstein genau

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zur gleichen Zeit aufkamen wie die maritimen Einflüssen und Bezügen auf ihn einwirkte. Die ewigen Juden in Nikolaus Lenaus und der jakobinischen Tragödie oder Puccinis Gruselgeschichten über den Holländer. Beide wissenschaftlichen Experimente Mesmers mit gleichnamigem Gedicht, spiegeln sich im Tosca und der Verismo-Oper. Im Laufe seiner Themenstränge spielen mit dem Gedanken dem Magnetismus, die noch nicht allzu lange Unvermögen des Holländers (das er in seinem weiteren Entwicklung kehrte Wagner gerne zur der Totenerweckung oder der Verdammung zurücklagen, und die Begeisterung des einleitenden Monolog beklagt), den eigenen Holländer-Partitur zurück, auch wenn die von zum ewigen Leben, bis eine Untat in der romantischen Zeitalters für Träume und Tod zu finden, indem er sich in die Fluten ihm geleiteten Aufführungen nie ohne Vergangenheit gesühnt ist. Edward Fitzball, Trancen finden ihren Ausdruck auch im stürzt, sein Schiff zum Klippengrund treibt Änderungen abliefen. Zunächst nahm er der der Autor des Singspiels Phantom Ship Libretto Wagners: in der Versunkenheit Sentas oder die Piraten verhöhnt. Sentas Ballade – Originalpartitur einiges an Sprödigkeit, bemerkte in seinen Memoiren: “Diese Art von vor dem Porträt des Holländers und ihrer eines der ersten, in Paris entstandenen Stücke besonders bei den Blechbläsern (Hector Berlioz Drama war damals sehr beliebt, und Der Reaktion auf Eriks Erzählung von seinem für die Oper – hat sich in Anordnung und hatte in seiner ansonsten positiven Rezension fliegende Holländer stand selbst Frankenstein Traum, der die restliche Handlung vorausahnt. Inhalt bei Boieldieus Oper La Dame blanche einer frühen Dresdner Aufführung die oder dem Freischütz an Grausen und Weit über den einfachen Erlösungsschluss zu bedanken, deren Ballade im zweiten Akt Abhängigkeit von Tremolando-Effekten und Irrlichtern um nichts nach.” Heines (ein Leben für ein Leben) sogar mit einer Szene am Spinnrad beginnt. verminderten Septimen kritisiert). Dann schrieb Wagners Libretto übernimmt Elemente, die hinausgehend, erfasst Wagner auf Marschner, ein Zeitgenosse, dessen Musik er das Ende der Ouvertüre und der Oper selbst vielen Varianten des Geisterschiffthemas psychoanalytische Weise den Kern der Wagner sowohl kannte als auch dirigierte, ließ im Lichte seiner “neuen” Transformationsmusik gemein sind: die Versuche von Holländer-Legende. Bei ihm wird daraus eine seine Oper Der Vampyr in Schottland spielen. (à la Tristan) um und machte den Besatzungsmitgliedern, an Menschen zu Geschichte der Wiederherstellung, wobei der Dort singt ein Mädchen eine Ballade von der Verklärungsschluss musikalisch stärker schreiben, die seit langem tot sind (Anlass zum Träumer (der verwunschene Seefahrer) in Vampirlegende, in der sie den Antihelden mit anschaulich. Bei der Arbeit an einer Spott für die norwegischen Matrosen im seinen ursprünglichen, “rechten” den gleichen Worten beschreibt wie Senta den Modellaufführung für König Ludwig II. in Hafen), die magischen Eigenschaften des Geisteszustand, den vor seinem überheblichen Holländer, nämlich als “den bleichen Mann” München kam er schließlich auf den Gedanken, verwunschenen Schiffes (vom Holländer selbst Wahnsinnsakt (dem Schwur, das Vorgebirge zu (ein in der Literatur des 19. Jahrhunderts Sentas Ballade völlig umzuschreiben, doch ging in der Sandwike-Szene angesprochen) und das umschiffen, “und sollte er auch bis zum gängiger Ausdruck für sexuell begehrenswerte dieser Ansatz über eine Skizze nicht hinaus. alte Familienbildnis des Holländers (bei allen jüngsten Tage segeln müssen”), zurückversetzt Untote). Wagner selbst war es nicht versagt, seine Szenen in Dalands Haus gegenwärtig). Es war werden muss. Diese Wiederherstellung kann Dank seiner Belesenheit und seiner Idealvorstellung von dieser Oper als Einakter bahnbrechend für die Entwicklung einer nur gelingen, wenn ein “normaler” Mensch die musikalischen Erfahrungen konnte Wagner den zu relisieren. Dies wird in der vorliegenden neuen Opernform, dass Wagner nicht nur eine Handlung und das Leid des Träumers voll Holländer nicht nur zu einem Klassiker jenes Einspielung, die alle von Wagner vollendeten andere Harmoniesprache zur individuellen begreift und Mitgefühl zeigt. Genres erheben, das als Schauerromantik Änderungen an der Partitur berücksichtigt, Charakterisierung einsetzen, sondern auch mit Wagner verarbeitete auch Einflüsse aus bekannt wurde, sondern auch seine nachgeholt. dem Einblick eines belesenen Autoren kreativ weniger spezifischen Quellen. Die frustrierten Zeitgenossen in vielfacher Hinsicht überragen – kombinieren konnte, was an literarischen Selbstmordversuche von Ahasverus, dem ähnlich wie im Fall von Shakespeares Hamlet © 2004 Mike Ashman

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Die Sage vom fliegenden Holländer Tochter Senta. Die erschöpfte Mannschaft selbst, so beschließt sie, will das Opfer Holländer überhört den Wortwechsel und Der Kapitän eines holländischen Handelsschiffes findet Ruhe, und auch der Steuermann, der bringen. glaubt sich, ungeacht der Beteuerungen geriet vor dem Kap der guten Hoffnung in Wache stehen soll, schläft ein. Senta ist mit einem Freund aus Sentas, verraten und der einzigen Hoffnung einen schrecklichen Sturm und schwor, dass er 3 Ein zweites Schiff erscheint, und der Kindheitstagen, dem Jäger Erik, verlobt. auf seine Erlösung beraubt. Er kehrt auf sein das Vorgebirge umrunden würde, selbst wenn er fliegende Holländer kommt an Land. Im 2 Als dieser erscheint, ist er von Sentas Schiff zurück, und als die Segel gesetzt bis zum jüngsten Tag segeln müsste. Der Teufel Selbstgespräch beklagt er die Verdammung, Vertiefung in die Legende des Holländers werden, stürzt Senta sich von einer Klippe ins hörte die Gotteslästerung und verdammte den die all seine Versuche vereitelt hat, sich das beunruhigt. Er erzählt ihr von einem Traum: Meer. Der Holländer ist erlöst. Holländer mit seiner Besatzung zur endlosen Leben zu nehmen: in den tiefsten Fluten, an Daland sei mit dem Holländer heimgekehrt, Irrfahrt über die Meere. Ein Weg zur Erlösung den Klippen, im Kampf mit Piraten. und sie sei anschließend mit dem bleichen Übersetzung: Andreas Klatt stand dem Holländer jedoch offen: Alle sieben 4 Daland erscheint an Deck und schilt den Seemann aufs Meer geflohen. Dies bestärkt sie Jahre durfte er an Land gehen, um eine Frau zu verschlafenen Steuermann. Beide erblicken das in ihrer Verzückung, und Erik geht verzweifelt. Der in Lancashire geborene Bass John finden, die ihm bis in den Tod treu bleiben Schiff des Holländers, und Daland bittet diesen 3 – 4 Daland trifft mit dem Holländer Tomlinson studierte zunächst Bauwesen an würde. Nur durch die liebevolle Hingabe einer gastfreundlich an Bord. Der Holländer will ein, und Senta erkennt ihn sogleich. 5 – 6 der Universität Manchester, bevor er als solchen Frau war der Fluch aufzuheben. Wieder Daland reich aus seinen Schätzen belohnen, Mit ihm allein gelassen, gesteht Senta dem Stipendiat das Royal Manchester College of sind sieben Jahre abgelaufen, und einmal mehr wenn er ihm für eine Nacht Obdach gewährt Holländer, dass er in ihr die ersehnte Erlösung Music (heute: Royal Northern College of hofft der Holländer, eine Frau zu finden, die ihn und ihm die Hand seiner Tochter Senta gefunden hat. Music) besuchte. von seinem Schicksal befreien kann. anbietet. Der Wind dreht sich, und die Schiffe Regelmäßig singt er seit 1974 an der können den Heimathafen Dalands anlaufen. Dritte Szene English National Opera und seit 1977 an der Die Handlung 7 Während Dalands Matrosen und die Royal Opera Covent Garden. Außerdem ist er Zweite Szene Dorfbewohner die glückliche Heimkehr feiern, an der Opera North, der Scottish Opera, in COMPACT DISC ONE 5 Unter der Aufsicht von Sentas Amme Mary bleibt es an Bord des fremden Schiffes seltsam Glyndebourne und mit der Glyndebourne sitzen die Frauen in Dalands Haus beim still; selbst an Speisen und Getränken ist man Touring Opera sowie der Kent Opera An der Küste Norwegens Spinnen. dort nicht interessiert. Den Norwegern wird es aufgetreten. Seit 1988 singt er jedes Jahr bei unbehaglich. Die Mannschaft des Holländers den Bayreuther Festspielen, wo man ihn als Erste Szene COMPACT DISC TWO reagiert schließlich mit einem gespenstischen Wotan (Das Rheingold und Die Walküre), 1 – 2 In einem schweren Sturm wird das Lied, das die Norweger in Furcht versetzt und Wanderer (Siegfried ), Titurel und Gurnemanz Schiff Dalands sieben Meilen vom 1 Senta ist in ein Bild von der Sagengestalt das Weite suchen lässt. (Parsifal ), König Marke (Tristan und Isolde), Heimathafen abgetrieben und ist gezwungen, des fliegenden Holländers versunken und 8 – 9 Erik erinnert Senta an ihr Heinrich (Lohengrin) und Hagen Anker zu werfen. Daland denkt an seine besingt in einer Ballade sein trauriges Los; sie Gelöbnis, ihm ewige Treue zu halten. 10 Der (Götterdämmerung) erlebt hat.

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Weitere Stationen waren Genf, Lissabon, den USA konzertiert. Stellvertretend für seine als Tosca, in Dresden als Gräfin (Le nozze di Sinfonieorchestern der Welt auf. Mit New York, Chicago, San Francisco, San Diego, vielen Schallplattenaufnahmen seien hier nur Figaro), als Katerina (Griechische Passion) bei fabelhaften Interpretationen solch Paris, Amsterdam, Berlin (Deutsche Oper und genannt für Opera Rara Donizettis Gabriella di den Bregenzer Festspielen, als Suor Angelica unterschiedlicher und anspruchsvoller Rollen Deutsche Staatsoper), Dresden, München und Vergy und für die Chandos-Reihe “Opera in (Il trittico) in Köln sowie als Elsa (Lohengrin) wie Baron Ochs (Der Rosenkavalier), Hagen Wien, die Festspiele von Orange, Aix-en- English” Julius Caesar, Mary Stuart, Rigoletto, in Basel. (Götterdämmerung), Claggart (Billy Budd ), Provence, Salzburg, Edinburgh sowie der Werther, Auszüge aus Boris Godunow und Weitere Höhepunkte waren Senta an der Sarastro (Die Zauberflöte), Filippo II. und Maggio musicale in Florenz. Sein Der Rosenkavalier sowie zwei Sammlungen Metropolitan Opera, Wiener Staatsoper und Il Grande Inquisitore (Don Carlos), Heinrich Opernrepertoire umfasst auch die Rollen von großer Opernarien. Vlaamse Opera, Marguerite (Faust) und (Lohengrin), Hunding (Die Walküre) und Hans Sachs (Die Meistersinger von Nürnberg), John Tomlinson wurde 1997 mit dem Elisabeth (Tannhäuser) bei den Méphistophélès (Faust) war er an der Opéra de Landgraf (Tannhäuser), die Titelrolle in britischen Verdienstorden CBE ausgezeichnet. Opernfestspielen von Savonlinna, Manon Paris-Bastille, bei den Bayreuther Festspielen, Der fliegende Holländer, Baron Ochs Lescaut an der English National Opera, an der Royal Opera Covent Garden, (Der Rosenkavalier), Orestes (Elektra), Moses Nina Stemme wurde in Stockholm geboren Tatjana (Eugen Onegin) an La Monnaie in Metropolitan Opera New York, Lyric Opera (Moses und Aron), Green Knight in der und studierte Bratsche an der Adolf-Fredrik- Brüssel, Katerina (Lady Macbeth von Mzensk) Chicago, Canadian Opera, La Fenice Venedig, Welturaufführung von Harrison Birtwistles Musikhochschule. Parallel zum Wirtschafts- in Genf, Sieglinde (Die Walküre) in Köln, am Teatro Liceu Barcelona, der Bayerischen Gawain and the Green Knight, Rocco studium in Stockholm besuchte sie einen Kurs Nyssia (König Kandaules) bei den Salzburger Staatsoper, Wiener Staatsoper und am Teatro (Fidelio), Filippo II. (Don Carlos), Sarastro am Stockholmer Opernstudio und schloss ihr Festspielen, Isolde (Tristan und Isolde) in Colón Buenos Aires sowie in San Francisco, (Die Zauberflöte), Commendatore (Don Gesangsstudium an der Staatlichen Glyndebourne und an der Königlichen Oper Dallas, Houston, Santa Fe und Washington zu Giovanni), die vier Rollen von Lindorf, Opernschule in Stockholm ab. Sie stand im Stockholm, Marschallin (Der Rosenkavalier) in erleben. Coppélius, Docteur Miracle und Dapertutto Finale des internationalen Sängerwettbewerbs Göteborg und Marie (Wozzeck) an der Opéra Konzertant ist er mit den Sinfonie- in Les Contes d’Hoffmann, Golaud und Arkel “Singer of the World” in Cardiff und ging National de Lyon. orchestern von Chicago, San Francisco, (Pelléas et Mélisande), Boromeo (Palestrina), siegreich aus dem Placido-Domingo- Konzertant ist Nina Stemme mit Dirigenten St. Louis, Houston und Boston, dem National Dossifei (Chowanschtschina) und die Wettbewerb hervor. wie Roberto Abbado und Antonio Pappano Symphony Orchestra, Minnesota Orchestra, Titelrollen in Boris Godunow, Oberto und 1995 trat sie der Kölner Oper bei, wo sie u.a. in Aufführungen von Beethovens Neunter London Philharmonic Orchestra, Halle Attila. Partien wie Pamina (Die Zauberflöte), Gräfin sowie den Vier letzten Liedern und der Schluss- Orchestra, im Amsterdamer Concertgebouw John Tomlinson verfügt über ein (Le nozze di Figaro), Mimì (La Bohème) und Szene Capriccio von Strauss aufgetreten. und beim Edinburgh Festival sowie mit umfangreiches Konzertrepertoire. Er hat mit Agathe (Der Freischütz) sang. Es folgten Orchestern in Paris, Sevilla und Valencia allen namhaften britischen Orchestern gesungen Gastspiele an De Vlaamse Opera als Elisabeth Der aus Illinois stammende Bass Eric aufgetreten. und auch in Deutschland, Italien, Belgien, (Tannhäuser), in Hamburg als Freia und Halfvarson tritt regelmäßig mit den Die Diskographie von Eric Halfvarson Holland, Frankreich, Spanien, Dänemark und Gutrune im Ring des Nibelungen, in Göteborg berühmten Opernensembles und umfasst neben vielen anderen Werken Don

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Carlos, Billy Budd, Rayok von Schostakowitsch (Alcina) in Drottningholm, Rosmira Schauplatz zweier wichtiger Wagner-Debüts: und an der Metropolitan Opera debütierte er und Barbers Antony and Cleopatra. (Partenope) an der Lyric Opera Chicago, Rollen Siegmund unter der Leitung von Bernard als Lacˇa Klemen (Jenu°fa). Im Jahr 2000 trat in Guillaume Tell, Mosè in Egitto, Rigoletto, Haitink und Erik unter der Leitung von Kim Begley erstmals bei den Bayreuther Die in Dublin geborene Mezzosopranistin Mephistofele und La fanciulla del West an der Simone Young. Festspielen auf, als Loge in Das Rheingold Patricia Bardon studierte bei Veronica Dunne Royal Opera Covent Garden sowie zahlreiche Im Laufe seiner Karriere hat Kim Begley unter der Leitung von Giuseppe Sinopoli. am College of Music in Dublin und machte Partien an der Opera North, Welsh National auch enge Kontakte mit der Glyndebourne Kim Begley ist auch ein vielseitiger auf sich aufmerksam, als sie aus dem Opera und in Glyndebourne gesungen. Festival Opera und der English National Konzertkünstler. Sein Kernrepertoire umfasst internationalen Sängerwettbewerb “Singer of Patricia Bardon verfügt über ein Opera unterhalten. Die großen Janácˇek- Brittens War Requiem, Elgars Dream of the World” in Cardiff als jüngste Siegerin umfangreiches und vielfältiges Rollen, die sein Repertoire prägen, sang er Gerontius, Beethovens Neunte und Missa hervorging. Inzwischen gilt sie international Konzertrepertoire, das sie mit berühmten zuerst in Glyndebourne, wo er auch erstmals Solemnis sowie Mahlers Achte und das als führende Opern- und Konzertinterpretin. Orchestern in aller Welt zusammengeführt hat: als Florestan (Fidelio) auftrat. An der English Das Lied von der Erde. Unter seinen vielen Sie hat die Titelrolle in Tancredi und Arsace Lincoln Center, Concertgebouw, La Scala, National Opera hat er große Rollen von Schallplattenaufnahmen sind Falstaff, (Semiramide) am Teatro la Fenice in Venedig, South Bank, Berlin, Madrid, Brüssel, Proms und Britten, Janácˇek, Mussorgski und Wagner Salome, Das Rheingold und der Grammy- die Titelrolle in Carmen an der Hamburger Edinburgh Festival. Außerdem hat sie (Parsifal ) gesungen. Preisträger Doktor Faust von Busoni Staatsoper, Welsh National Opera und Scottish Solokonzerte in Tokio, Aix-en-Provence, Covent Seine Opernkarriere hat ihn nach Frankfurt hervorzuheben. Opera, die Titelrolle in La Cenerentola am Garden, Montreux und Dublin gegeben. (Lohengrin), Genf (Boris Godunow), Köln (Das Théâtre de la Monnaie Brüssel und in Zu ihren vielen Schallplattenaufnahmen Rheingold ), Barcelona (Die Sache Makropulos), Peter Wedd studierte an der Guildhall School Lausanne, die Titelrolle in Orlando in New gehören Orlando, Elijah, Eugen Onegin, Serse Lyon (Doktor Faust), Berlin (Der Freischütz), of Music and Drama bei William McAlpine York, Paris, Lyon und Antwerpen, Penelope in einer Liveaufnahme von der Bayerischen Brüssel (Chowanschtschina), Toulouse (Die und anschließend am National Opera Studio. (Il ritorno d'Ulisse in patria) beim Maggio Staatsoper, Rigoletto sowie im Rahmen der Walküre, Peter Grimes) und Amsterdam (Peter Er war von 1999 bis 2001 erster Tenor an der Musicale in Florenz und in Athen, Cornelia Chandos-Serie “Opera in English” die Grimes) geführt, an die Opéra national de Royal Opera Covent Garden und gastiert (Giulio Caesare) und Amastris (Serse) an der Titelrolle in Carmen. Paris-Bastille (Mahagonny, Billy Budd, Der regelmäßig an der Welsh National Opera. Als Bayerischen Staatsoper, in Dresden und fliegende Holländer) und das Théâtre du erster Tenor an der Royal Opera sang er Ywain Montpellier, Anna (Les Troyens) beim Maggio Nach Abschluss seiner Studien trat der Châtelet Musical Paris (Fidelio, Doktor Faust), (Gawain and the Green Knight) und Kudrjás Musicale, Smeton (Anna Bolena) in San britische Tenor Kim Begley der Royal Opera an die Mailänder Scala (Der Freischütz, Das (Katja Kabanowa). An der Welsh National Francisco, die Titelrolle in Tamerlano in Covent Garden als Hauptsänger bei; dort hat Rheingold ) und die Berliner Staatsoper (Der Opera ist er als Don José (Carmen), Tamino Beaune, Ursule (Béatrice et Bénédict) in man ihn u.a. in Katja Kabanowa, Pfitzners Freischütz). An der Lyric Opera Chicago war (Die Zauberflöte), Don Ottavio (Don Amsterdam und an der Welsh National Opera, Palestrina, Billy Budd und Wozzeck erlebt. er in Die Sache Makropulos, Mahagonny, Billy Giovanni) und Lacˇa Klemen ( Jenu˚fa) Ruggiero (Alcina) in Montpellier, Bradamante Covent Garden war für ihn auch der Budd und Der fliegende Holländer zu erleben, aufgetreten.

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Weitere Verpflichtungen waren Federico und Australasien geführt. Nachdem er bei der Pritchard, Bernard Haitink, Sir Georg Solti, Er ist häufig in Spanien zu Gast und hat mit (L’Arlesiana) und Pluto (Orphée aux enfers) mit BBC erste Dirigiererfahrungen gesammelt Klaus Tennstedt und Franz Welser-Möst den meisten bedeutenden spanischen der Opera Holland Park, Kyska (Sˇarkatán) hatte, begann er mit eigenen Sängern zu aufgebaut wurde. Seit 1992 ist das London Orchestern Konzerte gegeben. In Madrid hat er und Julius (I cavalieri di Ekebù) beim Wexford arbeiten und gründete den Geoffrey Mitchell Philharmonic Orchestra das die spanische Uraufführung von Peter Grimes Festival sowie Satyavan (Savitri) beim Choir. Aus ersten Aufnahmen entwickelte sich Gastsinfonieorchester der Royal Festival Hall dirigiert, und 1996 die erste spanische Aldeburgh Festival. Außerdem hatte er großen eine langfristige Zusammenarbeit des Chors und bereits seit achtunddreißig Jahren das Inszenierung von The Rake’s Progress. Er ist in Erfolg als Rodolfo in einer Neuinszenierung mit Opera Rara, für die er über dreißig Gastsinfonieorchester an der Glyndebourne Deutschland, der Schweiz und den von La bohème in der Royal Albert Hall Tonträger aufgenommen hat. Der Chor Festival Opera. Niederlanden aufgetreten, bei den Festspielen London. Peter Wedd hat Tamino und genießt wachsendes Ansehen und ist bei der in Pesaro, beim Hong Kong International Eisenstein (Die Fledermaus) mit der BBC und internationalen Plattenfirmen David Parry hat bei Sergiu Celibidache studiert Festival, in Japan anläßlich einer Carmen- Europäischen Kammeroper sowie Lysander gefragt. Für Chandos hat der Geoffrey und seine berufliche Laufbahn als Assistent von Tournee und in Mexiko mit dem UNAM (A Midsummer Night’s Dream) am Lyric Mitchell Choir an zahlreichen Aufnahmen der Sir John Pritchard begonnen. Er hat am English Symphony Orchestra. Zu den Theatre Singapur gesungen. hervorragend kritisierten Reihe Opera in Music Theatre debütiert und wurde dann Neuproduktionen, die er in letzter Zeit dirigiert Als vielgefragter Konzertkünstler ist er u.a. English unter der Schirmherrschaft der Peter Dirigent mit Festvertrag an den Städtischen hat, zählen Fidelio beim New Zealand Festival, mit dem London Philharmonic Orchestra und Moores Foundation teilgenommen. Bühnen Dortmund und an der Opera North. Lucia di Lammermoor an der New Israeli dem Royal Scottish National Orchestra, der Von 1983 bis 1987 war er Musikdirektor der Opera und Don Giovanni an der Staatsoper City of London Sinfonia und der Northern Das London Philharmonic Orchestra ist seit Opera 80 und seit 1992 Gründungsmitglied Hannover. Sinfonia sowie dem Bournemouth Symphony langem als vielseitiges und künstlerisch und Direktor der Almeida Opera. Seine Tätigkeit im Aufnahmestudio umfaßt Orchestra aufgetreten. Peter Wedd hat bei herausragendes Orchester fest etabliert. Bezeugt Er übt in Großbritannien und international die Produktion von Marschners Der Vampyr Festspielen wie in Covent Garden und wird dies durch Konzert- und eine weitgespannte Tätigkeit in den Bereichen fürs BBC-Fernsehen und achtundzwanzig Edinburgh, Maribor (Slowenien) und Cernier Opernaufführungen, vielfach preisgekrönte Oper und Konzert aus, hat mehrere vollständige Opernaufzeichnungen unter der (Schweiz) gesungen. Schallplattenaufnahmen, bahnbrechende Produktionen der English National Opera und Schirmherrschaft der Peter Moores Für die Chandos-Serie “Opera in English” internationale Gastspielreisen und der Opera North dirigiert und tritt regelmäßig Foundation. Darunter befinden sich zahlreiche hat er Turandot und Jenu˚fa aufgenommen. wegbereitende pädagogische Arbeit. mit dem Philharmonia Orchestra und dem Aufnahmen der Reihe Opera Rara, die Geoffrey Mitchells Gesangskarriere hat ihm Chefdirigent des Orchesters ist seit September London Philharmonic Orchestra auf. 1996 gab mehrere Preise gewonnen haben, beispielsweise ein bemerkenswert breitgefächertes Repertoire 2000 Kurt Masur. Er steht in einer langen er sein Debüt beim Glyndebourne Festival mit den belgischen Prix Cecilia für Donizettis von der alten bis zur neuen Musik beschert Tradition, die seit der Gründung des Così fan tutte und hat dort 1998 die Rosmonda d’Inghilterra. Für Chandos hat er die und ihn nach Skandinavien, Deutschland, in Orchesters durch Sir Thomas Beecham im Uraufführung von Jonathan Doves Flight Aufzeichnung einer Serie von Programmen die ehemalige Tschechoslowakei, nach Kanada Jahre 1932 durch Sir Adrian Boult, Sir John geleitet. mit Opernarien geleitet (mit Bruce Ford,

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Diana Montague, Dennis O’Neill, Alastair Love, Lucia of Lammermoor, Ernani, Miles, Yvonne Kenny, John Tomlinson, Della Il trovatore, Aida, Faust, Cavalleria rusticana, Jones und Andrew Shore), außerdem The Pagliacci, La bohème, Turandot, die Marriage of Figaro, A Masked Ball, Idomeneo, preisgekrönte Tosca und Highlights aus dem Carmen, The Thieving Magpie, Rosenkavalier, jeweils in Zusammenarbeit mit Don Giovanni, Don Pasquale, The Elixir of der Peter Moores Foundation. Dan Rest/LyricDan of Chicago Opera

Kim Begley as Erik with Lyric Opera of Chicago

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Arthur Gordon Pym (Les Aventures d’Arthur prendre garde d’épouser un Hollandais volant; Comment Wagner trouva-t-il le Hollandais volant? Gordon Pym de Nantucket) d’Edgar Poe sont et nous, les hommes, nous devons en tirer la peut-être les meilleurs exemples de ce que le leçon que les femmes seront au mieux notre En décembre 1842, un journal d’art local violente qui régnait alors – même s’il lui fallait correspondant de Dresde qualifia avec justesse ruine.” Mais Wagner prit la possibilité de la annonça la préparation d’une nouvelle œuvre à naviguer jusqu’au jour du Jugement dernier.” de “récit anglais” de la légende. rédemption du Hollandais très au sérieux, l’Opéra de la cour de Saxe à Dresde. “Un Si la légende du Hollandais volant possède Bien qu’au premier abord la pièce à laquelle notant dans son Esquisse autobiographique: “Le deuxième opéra de Richard Wagner, qui est un lien quelconque avec la réalité, elle naquit assiste le héros de Heine donne l’impression de traitement dramatique de Heine – sa propre devenu célèbre du jour au lendemain avec son certainement des événements provoqués par la simplement raconter la légende, elle suggère invention – de la rédemption de cet Ahasuerus Rienzi, est en pleine répétition pour une rivalité commerciale et par les guerres entre cependant une voie de sortie pour le (le Juif errant) des mers me donna tout ce production… il est intitulé Le Hollandais l’Angleterre et la Hollande aux dix-septième et Hollandais damné: “Prenant au mot le dont j’avais besoin pour utiliser la légende volant, et Wagner a combiné l’histoire dix-huitième siècles, période pendant laquelle capitaine du vaisseau, le diable le contraint à comme sujet d’opéra. Je parvins à un accord fantastique de Heine avec le récit anglais et les bateaux de commerce hollandais passaient errer sur les mers jusqu’au jour du Jugement avec Heine lui-même…” quelques additions de sa propre invention”. régulièrement par le Cap de Bonne Espérance Dernier à moins que le dévouement d’une C’est à Paris que Wagner rencontra Heine, L’“histoire fantastique” en question était du en Afrique du Sud. (Un récent documentaire femme ne vienne le sauver. Le diable est trop un autre intellectuel allemand exilé qui fut poète allemand Heinrich Heine, qui avait une de la télévision hollandaise alla même jusqu’à stupide pour croire à un tel dévouement, et brièvement son ami pendant les années de obsession affectueuse avec tout ce qui est se demander si l’expression “Vliegende autorise le capitaine maudit à revenir à terre pénuries et (malgré une lettre de hollandais. Dans son Aus den Memoiren des Hollaender” était ou non la déformation du une fois tous les sept ans, à se marier et ainsi recommandation de Meyerbeer, un personnage Herren von Schnabelewopski (D’après les nom “Vergulde Vlamingh” (“Flamand d’Or”), trouver son salut.” Le Schnabelewopski de puissant et parvenu) son insuccès à se faire un mémoires du seigneur de Schnabelwopski, un intrépide capitaine de la marine marchande Heine voit donc “Mme Hollandais volant” se nom dans la capitale française. Après leur 1834), Heine raconte comment son héros hollandaise de cette époque.) C’est au cours jeter du haut d’une falaise, ce qui a pour effet conversation, un ami commun prédit à propos voyageur découvre la légende du Hollandais des années 1790 qu’un flot de poèmes et que “la malédiction est levée, le Hollandais est de Wagner que “d’un individu si rempli de dans une pièce jouée à Amsterdam: “Chacun d’histoires traitant du thème d’un capitaine sauvé, et l’on voit le vaisseau fantôme culture moderne, il est possible de s’attendre connaît l’histoire de ce vaisseau maudit qui ne maudit condamné à voyager pour l’éternité s’enfoncer dans les profondeurs de l’océan.” au développement d’une musique solide et peut jamais trouver refuge dans un port, et qui commença à apparaître dans la littérature Heine cherchait avec ce nouveau puissamment moderne”. Les premières notes erre sur les mers depuis les temps anglaise et américaine. Le Rhyme of the Ancient dénouement à se moquer de ce qu’il de cette “musique solide et puissamment immémoriaux. Ce terrible vaisseau porte le Mariner (La Ballade du vieux marin) de considérait comme étant une histoire de moderne” résonnèrent certainement dans la nom de son capitaine, un Hollandais qui Samuel Taylor Coleridge, Rokeby de Sir Walter fantôme sentimentale et romantisée. “La partition du Vaisseau fantôme, dans laquelle autrefois jura par tous les diables qu’il passerait Scott, The Red Rover (Le Corsaire rouge)de morale de cette pièce, en ce qui concerne les Wagner utilisa pour la première fois l’art de un certain cap malgré la tempête la plus James Fenimore Cooper et The Narrative of femmes”, conclut-il, “est qu’elles doivent caractériser par le langage harmonique aussi

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bien que par la couleur, le rythme et le tempo: l’action de son opéra allait se dérouler. Bien The Flying Dutchman, or the Phantom Ship Bien que le Vaisseau fantôme ait produit une un chromatisme dramatique et moderne pour que les recherches norvégiennes sur les lieux (Le Hollandais volant ou Le Vaisseau fantôme), faible impression lors de sa création à Dresde le Hollandais, ses souffrances et celle qui aient par la suite tout fait pour retracer chacun se situaient toutes en Écosse, le pays lointain et comparé au début éclatant de Rienzi, un devrait le sauver, Santa, et un diatonisme de des mouvements de Wagner pendant les deux mythique des grottes, des épaves et des ouvrage long, bruyant et entièrement plus style grand opéra traditionnel pour la vie jours qu’il y passa et trouver leurs équivalents fantômes marins. Wagner (apparemment) conventionnel, le succès à venir du nouvel familiale bourgeoise de Daland, Marie et des dans le livret du Vaisseau fantôme, il est changea subitement d’idée et déplaça l’histoire opéra était garanti par le fait que Wagner avait jeunes fileuses. Quand Wagner commença la aujourd’hui seulement possible d’affirmer que en Norvège. Pourquoi? Peut-être apprit-il enfin mis la main sur un sujet véritablement musique de son nouvel ouvrage à Paris, il le Thetis (son bateau) trouva refuge à Borøya qu’un opéra, s’inspirant (de manière plutôt populaire. Outre les œuvres des écrivains espérait obtenir du succès avec plusieurs de ses pendant une violente tempête au mois de libre) de l’esquisse du Hollandais qu’il avait mentionnés plus haut, il existait pendant les numéros au célèbre Opéra. Il ne parvint à juillet, et que les falaises de granit de l’île vendue, venait juste d’être présenté à Paris, et premières décennies du dix-neuvième siècle obtenir qu’une somme dérisoire en vendant le forment un mur dont l’écho inspira peut-être préféra-t-il distancier son idée originale de cet deux romans anglais (traduits) très répandus – scénario de son œuvre à la direction du les échos du chœurs des matelots dans la scène opéra. Ou peut-être chercha-t-il à brouiller sa Vanderdecken’s Message Home (La Lettre au pays théâtre. d’ouverture de l’opéra. dette envers Heine. (Trente ans plus tard, de Vanderdecken) de John Howison (le premier L’histoire de Heine, sa rencontre avec Cependant, l’influence de la Norvège dans Wagner remania ses mémoires et prétendit que texte connu mentionnant le capitaine l’auteur et l’existence difficile d’un artiste à l’opéra s’étendit au-delà des influences “le traitement de Heine était un emprunt à fantôme) et The Phantom Ship (Le Vaisseau Paris furent des motifs importants pour le littérales. Jusqu’à seulement quelques semaines une pièce hollandaise portant le même titre”, fantôme) de Frederick Marryat (qui se termine projet du Vaisseau fantôme de Wagner, mais un avant la création du Vaisseau fantôme en et oublia complètement “l’invention” par le par une rédemption et provoqua en Hollande élément autobiographique “sur le lieu” joua janvier 1843, l’action se déroulait en Écosse poète de la rédemption du héros.) Ou peut- une mini vogue pour le Hollandais volant) – également un rôle dans la genèse de l’œuvre. Si (l’Acte I se situait à “Holystrand”, Senta être parce que cela s’accordait avec l’idée qu’il ainsi que plusieurs pièces hollandaises Wagner lut pour la première fois le récit de s’appelait Anna, son père Donald ou commençait à développer selon laquelle une originales ou traduites (que Heine vit peut-être Heine pendant la période où il était le simplement “l’Écossais”, et Erik portait le nom œuvre devrait toujours être reliée aux lors de ses séjours réguliers en Hollande). Ce directeur musical du Théâtre de Riga, ce récit de Georg). C’était probablement parce que événements “réels” de la vie d’un véritable n’est pas non plus un hasard si les premiers fut sans doute encore présent à sa mémoire non seulement l’histoire de Heine mais artiste. Plus tard, Wagner insista que cet “opéra contes de vampires de Polidori et de Byron, et lors de la traversée ininterrompue sur mer également une histoire d’épouvante allemande romantique” de 1843 constituait le véritable le Frankenstein de Mary Shelley sont les entre la Russie et la France qu’il effectua au très populaire à l’époque que Wagner point de départ de sa carrière de poète et de contemporains exacts des ces récits cours de l’été 1839. Ce voyage plaça le connaissait sous le titre de The Cave at musicien dramaturge, une croyante adoptée fantomatiques marins du Hollandais. Ces deux compositeur, de manière presque littérale, près Steenfooll (La Grotte de Steenfool) et une pièce par le Festival de Bayreuth qui a toujours genres d’histoire utilisent la même idée d’un de la côte du sud de la Norvège dans le lieu [anglaise] contemporaine à la mode refusé de représenter aucun de ses opéras mort revenant à la vie ou de personnages même (Sandwike sur l’île de Borøya) où (probablement connue de Heine) intitulée antérieurs. incapables de mourir jusqu’à ce qu’une faute

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ou un crime commis dans le passé ait été expié fascination romantique de l’époque avec les le contenu de la Ballade de Senta – l’une des fois qu’il dirigea lui-même l’œuvre, il lui en bonne et due forme. Comme Edward rêves et les transes, trouvent leur place dans premières pages de l’opéra composées à Paris – apporta des retouches. Il commença par Fitzball, l’auteur de la pièce The Phantom Ship, son livret à travers l’obsession de Senta pour le doit beaucoup à la Ballade de l’héroïne à l’Acte atténuer le tape-à-l’œil de certaines parties de le nota dans ses mémoires: “Ces genres de portrait du Hollandais, et quand elle II de La Dame blanche de Boieldieu, qui l’orchestration originale, en particulier celles drames étaient alors très en vogue, et le s’identifie immédiatement avec le rêve dans commence également par une scène avec des des cuivres (Hector Berlioz, dans son compte Hollandais volant n’était en aucun cas inférieur lequel Erik prédit le déroulement du reste de fileuses. Heinrich Marschner, un rendu généralement favorable de l’une des à Frankenstein ou à Der Freischütz du point de l’opéra. Allant au-delà de la simple idée contemporain dont Wagner connaissait et premières exécutions données à Dresde, avait vue de l’épouvante et du flamboyant.” d’une-vie-pour-une-vie proposée par le point dirigeait les partitions, situe son opéra Der critiqué un trop grand nombre d’effets de Le livret de Wagner reprend des éléments culminant de l’histoire de Heine, Wagner Vampyr (Le Vampire) en Écosse. Il contient une tremolando et de septièmes diminuées). Plus communs à de nombreuses versions de parvint à une perception psychanalytique du ballade chantée par une fille du pays racontant tard, Wagner altéra la fin de l’ouverture et celle l’histoire du vaisseau fantôme: la tentative des noyau central de la légende du Hollandais. la légende du vampire qui décrit l’anti-héros de l’opéra à la lumière de sa “nouvelle” membres de l’équipage fantôme d’envoyer des Son histoire devient celle d’une réparation par la même expression utilisée par Santa pour technique de transformation développée dans lettres à leurs familles dont les destinataires se dans laquelle le rêveur (le marin maudit) qualifier le Hollandais, “den bleichen Mann” Tristan, présentant une illustration musicale révèlent être morts depuis longtemps (ils sont doit revenir à son état d’esprit original et (“l’homme pâle”, une formule courante dans la plus claire de la fin rédemptrice de l’histoire. tournés en dérision par les matelots “droit” avant l’orgueil insensé de son acte littérature du dix-neuvième siècle pour Enfin, pendant la préparation d’une norvégiens), les propriétés magiques de (le serment de passer le cap à tout prix). Cette désigner un individu non-mort exerçant une production “modèle” pour le roi Louis II navigation du vaisseau ensorcelé du Hollandais réparation ne peut se réaliser que si un être attirance sexuelle). de Bavière à Munich, il songea à (remarquées par le Hollandais lui-même dans humain de la vie “normale” parvient à En tirant le meilleur parti de ses vastes complètement récrire la Ballade de Senta, un la scène de Sandwike), et l’ancien portrait de comprendre complètement le rêveur et à lectures et de ce qu’il avait entendu, Wagner travail qui ne dépassa pas l’état d’une simple famille du Hollandais (omniprésent tout au éprouver de la compassion pour son acte et ses fut non seulement capable de faire de son esquisse. long de l’action dans la maison de Daland). souffrances. Vaisseau fantôme un classique de ce qui allait Wagner ne parvint jamais à réaliser ce qui En une percée dans sa création d’une nouvelle Wagner introduisit également des influences devenir le Schauerromantik (le genre “roman semble avoir été son idéal de présenter forme d’opéra parallèle à son utilisation d’un provenant de sources moins spécifiques. Les d’épouvante”), mais également de transcender l’opéra en un seul acte. Il est joué de cette langage harmonique différent pour mettre en frustrantes tentatives de suicide d’Ahasuerus sur bien des points ses rivaux, comme manière dans le présent enregistrement qui valeur ses personnages, Wagner se révéla dans les poèmes épiques traitant du Juif Errant Shakespeare avec Hamlet par rapport à la incorpore également toutes les modifications capable de mêler et d’égaler les influences et de Nicholas Lenau suggèrent l’échec du tragédie jacobéenne ou Puccini avec Tosca par apportées par le compositeur au cours de sa les références de ses lectures avec l’intuition Hollandais (comme il le raconte dans son rapport à l’opéra vériste. Tout au long de sa carrière. d’un romancier. Les expériences scientifiques premier monologue) à faire couler son vaisseau carrière, Wagner revint à sa partition du sur le magnétisme de Mesmer recents, et la ou à se faire tuer par des pirates. La position et Vaisseau fantôme avec affection, mais à chaque © 2004 Mike Ashman

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La légende du Hollandais volant compris le Pilote que Daland a mis de compagnes. Elle déclare que c’est elle qui le conversation, et malgré les assurances de Senta, Pris dans une mer déchaînée alors qu’il tentait garde. sauvera grâce à son amour. il croit être trahi et avoir perdu son unique de franchir le Cap de Bonne Espérance, le 3 Un second vaisseau apparaît – celui du Tout le monde pense que Senta épousera le chance de rédemption. Il remonte à bord de capitaine hollandais d’un navire de commerce Hollandais volant. Le Hollandais raconte chasseur Erik, son amoureux depuis l’enfance. son vaisseau, et tandis qu’il lève l’ancre, Senta jura de réussir, dût-il continuer jusqu’au jour du comment il a tenté de mettre fin à son existence 2 Erik entre et est profondément troublé par se sacrifie. Ainsi, le Hollandais est sauvé. Jugement Dernier. Entendant ce blasphème, le faite de tourments éternels en se noyant, en l’obsession de Senta pour la légende du diable condamna le capitaine et son équipage à faisant sombrer son navire et en se battant avec Hollandais. Il lui raconte qu’il a fait un rêve Traduction: Francis Marchal errer sur les mers pour l’éternité. Le Hollandais des pirates – mais à chaque fois en vain. dans lequel il a vu Daland revenir au port se vit néanmoins accorder une chance de 4 Daland apparaît sur le pont et accompagné du Hollandais, puis Senta repartir Né dans le Lancashire, John Tomlinson obtint rédemption: tous les sept ans, il peut faire escale réprimande le Pilote d’avoir manqué à son avec lui en mer. Ce récit ne fait qu’accroître un diplôme d’ingénieur civil à l’Université de pour chercher une femme capable de l’aimer devoir en s’endormant. Ils voient le vaisseau l’obsession de Senta, et Erik sort désespéré. Manchester avant de remporter une bourse jusqu’à la mort. Seule une telle fidélité pourra du Hollandais, et Daland lui offre l’hospitalité. 3 – 4 Daland arrive avec le Hollandais. d’études au Royal Manchester College of lever la malédiction. Une nouvelle période de Monté à bord du navire de Daland, le Senta le reconnaît immédiatement. 5 – 6 Music (aujourd’hui rebaptisé Royal Northern sept ans s’est écoulée, et le Hollandais vient de Hollandais lui promet une vaste fortune en Laissé seuls, Senta révèle au Hollandais qu’elle College of Music). nouveau à terre à la recherche de la femme qui échange d’une nuit d’hospitalité et s’il peut est la femme qu’il recherche depuis si John Tomlinson chante régulièrement à le sauvera de son destin sans issue. épouser Senta, la fille de Daland. Le vent étant longtemps. l’English National Opera depuis 1974, et au tombé, les deux navires lèvent l’ancre et se Royal Opera de Covent Garden depuis 1977. Argument dirigent vers le port de Daland. Scène 3 Il se produit également à l’Opera North, au 7 Tandis que l’équipage de Daland célèbre Scottish Opera, au Festival de Glyndebourne, COMPACT DISC ONE Scène 2 leur retour au port, l’équipage du Vaisseau avec le Glyndebourne Touring Opera, et au 5 Sous la supervision de Mary, la fantôme demeure silencieux, refusant même de Kent Opera. Depuis 1988, il chante tous les L’action se situe sur la côte norvégienne. gouvernante de Daland, les femmes travaillent boire ou de manger. Ce silence commence à ans au Festival de Bayreuth où il a incarné le dans la maison de Daland pendant que les mettre les Norvégiens mal à l’aise. Quand rôle de Wotan (Das Rheingold et Die Walküre), Scène 1 hommes sont en mer. l’équipage du Vaisseau fantôme répond enfin, le Voyageur (Siegfried ), Titurel et Gurnemanz 1 – 2 Presque parvenu au port, le navire de c’est avec une chanson d’outre monde qui (Parsifal ), Mark (Tristan und Isolde), Heinrich Daland est contraint de jeter l’ancre à sept COMPACT DISC TWO épouvante les Norvégiens et les fait fuir. (Lohengrin) et Hagen (Götterdämmerung). milles de la côte afin de se protéger d’une 8 – 9 Erik supplie Senta de tenir la Il s’est produit à l’étranger à Genève, violente tempête. Il songe à sa fille, Senta. 1 Senta pense constamment au légendaire promesse qu’elle lui fit tout enfant de Lisbonne, New York, Chicago, San Francisco, L’équipage épuisé s’endort rapidement, y Hollandais, et raconte son histoire à ses l’épouser. 10 Le Hollandais surprend leur San Diego, Paris, Amsterdam, Berlin (au

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Deutsche Oper et au Deutsche Staatsoper), à Der Rosenkavalier, et deux disques dans la série Nina Stemme a également chanté le rôle de et l’Inquisiteur (Don Carlos), Heinrich Dresde, Munich et Vienne, et aux festivals Great Operatic Arias, tous pour la série Opera Senta au Metropolitan Opera de New York, au (Lohengrin), Hunding (Die Walküre) et d’Orange, d’Aix-en-Provence, de Salzburg, in English de Chandos. Wiener Staatsoper et au Vlaamse Opera; Méphistophélès (Faust) ont été entendus dans d’Édimbourg et au Maggio Musicale de John Tomlinson a été fait commandeur de Marguerite (Faust) et Elisabeth (Tannhäuser) au des théâtres tels que l’Opéra de Paris-Bastille, au Florence. Son répertoire inclut également le l’ordre de l’empire britannique (CBE) en Festival de Savonlinna; Manon Lescaut à Festival de Bayreuth, au Royal Opera de Covent rôle de Hans Sachs (Die Meistersinger von 1997. l’English National Opera; Tatiana (Eugène Garden, au Metropolitan Opera de New York, Nürnberg), Landgraf (Tannhäuser), le rôle titre Onéguine) au Théâtre de La Monnaie de au Lyric Opera de Chicago, au Canadian Opera, dans Der fliegende Holländer, le Baron Ochs Née à Stockholm, Nina Stemme étudia l’alto à Bruxelles; Katerina (La Lady Macbeth de à La Fenice de Venise, au Teatro Liceu de (Der Rosenkavalier), Orestes (Elektra), Moses l’École de musique Adolf Fredrik. Tout en Mtsensk) à l’Opéra de Genève; Sieglinde (Die Barcelone, au Bayerische Staatsoper de Munich, (Moses und Aron), le Chevalier vert dans la poursuivant des études de commerce et Walküre) à Cologne, Nyssia (König Kandaules) au Staatsoper de Vienne, au Teatro Colón de première mondiale de Gawain and the Green d’économie à Stockholm, elle suivit également au Festival de Salzburg; Isolde (Tristan und Buenos Aires, à San Francisco, Dallas, Houston, Knight de Harrison Birtwistle, Rocco (Fidelio), des cours de chant à l’Opéra Studio de Isolde) au Festival de Glyndebourne et à l’Opéra Santa Fe et Washington. le roi Philippe (Don Carlos), Sarastro Stockholm, puis termina ses études vocales au royal de Stockholm; la Maréchale (Der Eric Halfvarson s’est produit en concert (Die Zauberflöte), le Commandeur Collège national d’opéra de Stockholm. Rosenkavalier) à l’Opéra de Göteborg, et Marie avec le Chicago Symphony, le San Francisco (Don Giovanni), les quatre rôles de Lindorf, Finaliste du Concours international de Cardiff, (Wozzeck) à l’Opéra National de Lyon Symphony, le St Louis Symphony, le National Coppelius, Docteur Miracle et Dapertutto elle est lauréate du Concours Placido En concert, elle a chanté dans la Neuvième Symphony, le Houston Symphony, le Boston dans Les Contes d’Hoffmann, Golaud et Arkel Domingo. Symphonie de Beethoven, ainsi que les Vier Symphony, le Minnesota Orchestra, le London (Pelléas et Mélisande), Boromeo (Palestrina), En 1995, Nina Stemme devint membre de letzte Lieder et la scène finale de Capriccio de Philharmonic Orchestra, le Hallé Orchestra, Dosifey (Khovantchina), et les rôles titres dans l’Opéra de Cologne où elle chanta des rôles Strauss, sous la direction de chefs tels que au Concertgebouw d’Amsterdam, au Festival Boris Godounov, Oberto et Attila. tels que Pamina (Die Zauberflöte), la Comtesse Roberto Abbado et Antonio Pappano. d’Édimbourg, et avec des orchestres à Paris, John Tomlinson possède un vaste répertoire (Le nozze di Figaro), Mimì (La Bohème) et Séville et Valence. de concert, et a chanté avec tous les grands Agathe (Der Freischütz). Elle a chanté le rôle Né dans l’Illinois, la basse Eric Halfvarson La discographie d’Eric Halfvarson inclut orchestres britanniques, ainsi qu’en Allemagne, d’Elisabeth (Tannhäuser) au De Vlaamse chante régulièrement dans les plus grands Don Carlos, Billy Budd, Rayok de Italie, Belgique, Hollande, France, Espagne, Opera; Freia et Gutrune dans le cycle du Ring théâtres lyriques et avec les plus grands orchestres Chostakovitch, et Antony and Cleopatra de Danemark et aux États-Unis. Sa riche de Wagner à Hambourg; Tosca à Göteborg; la symphoniques du monde. Ses interprétations Samuel Barber. discographie inclut Gabriella di Vergy de Comtesse (Le nozze di Figaro) à Dresde; exceptionnelles de rôles aussi variés et aussi Donizetti pour Opera Rara, Julius Caesar, Katerina (Greek Passion) au Festival de difficiles que le Baron Ochs (Der Rosenkavalier), Née à Dublin, Patricia Bardon étudia avec Mary Stuart, Rigoletto, Werther, les albums Bregenz; Sœur Angelica (Il trittico) à Cologne, Hagen (Götterdämmerung), Claggart (Billy Veronica Dunne au College of Music de d’extraits de Boris Godounov et de et Elsa (Lohengrin) à Bâle. Budd ), Sarastro (Die Zauberflöte), le roi Philippe Dublin, et attira l’attention du public en

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devenant la plus jeune lauréate du Concours Patricia Bardon possède un répertoire de Festival de Glyndebourne où il a chanté pour Gerontius d’Elgar, la Neuvième Symphonie et international de Cardiff. Depuis, elle mène concert vaste et varié, et se produit avec de la première fois Florestan (Fidelio) ainsi que les la Missa Solemnis de Beethoven, Das Lied von une importante carrière internationale à nombreux grands orchestres dans des salles grands rôles des opéras de Janácˇek, et à der Erde et la Huitième Symphonie de Mahler. l’opéra et en concert. telles que le Lincoln Center de New York, le l’English National Opera où il a chanté des Parmi les titres de sa riche discographie, on Patricia Bardon a chanté le rôle titre dans Concertgebouw d’Amsterdam, la Scala de rôles principaux dans des opéras de Britten, citera Falstaff, Salome, Das Rheingold, ainsi que Tancredi et Arsace (Semiramide) à La Fenice de Milan, le South Bank de Londres, à Berlin, Janácˇek, Moussorgski, et dans Parsifal de Faustus de Busoni, qui a obtenu un Grammy Venise; le rôle titre dans Carmen au Staatsoper Madrid, Bruxelles, aux BBC Proms de Wagner. Award. de Hambourg, au Welsh National Opera et au Londres, et au Festival d’Édimbourg. Elle a Il s’est produit à Franckfort (Lohengrin), Scottish Opera; le rôle titre dans La également donné des récitals à Tokyo, Aix-en- Genève (Boris Godounov), Cologne (Das Peter Wedd étudia à la Guildhall School of Cenerentola au Théâtre de La Monnaie de Provence, Covent Garden, Montreux et Rheingold ), Barcelone (L’Affaire Makropoulos), Music and Drama de Londres avec le regretté Bruxelles et à Lausanne; le rôle titre dans Dublin. Lyon (Dr Faustus), Berlin (Der Freischütz), William McAlpine, puis au National Opera Orlando à New York, Paris, Lyon, et à Anvers; La discographie de Patricia Bardon inclut Bruxelles (Khovantchina), Toulouse (Die Studio. Il fut “Company Principal” de 1999 à Penelope (Il ritorno d’Ulisse in patria) au Orlando, Elijah, Eugène Onéguine, Serse dans Walküre, Peter Grimes), Amsterdam (Peter 2001 au Royal Opera de Covent Garden où il Maggio Musicale de Florence et à Athènes; un enregistrement “live” au Staatsoper de Grimes), à l’Opéra de Paris-Bastille (Aufstieg chanta Ywain (Gawain and the Green Knight) Cornelia (Giulio Caesare) et Amastris (Serse) au Munich, Rigoletto, et pour la série Opera in und Fall der Stadt Mahagonny, Billy Budd, Der et Kudrjas (Kat’á Kabanová). Il est Staatsoper de Munich, à Dresde et à English de Chandos, le rôle titre dans fliegende Holländer) et au Châtelet (Fidelio, Dr régulièrement invité à se produire au Welsh Montpellier; Anna (Les Troyens) au Maggio Carmen. Faustus), à La Scala de Milan (Der Freischütz, National Opera dans des rôles tels que Don Musicale; Smeton (Anna Bolena) à San Das Rheingold ), et au Staatsoper de Berlin José (Carmen), Tamino (Die Zauberflöte), Don Francisco; le rôle titre dans Tamerlano à Après avoir terminé ses études, le ténor anglais (Der Freischütz). Il a chanté au Lyric Opera de Ottavio (Don Giovanni) et Lacˇa (Jenu˚fa). Beaune; Ursule (Béatrice and Bénédict) à Kim Begley devint ténor principal au Royal Chicago dans L’Affaire Makropoulos, Aufstieg Parmi ses autres prestations en Grande- Amsterdam et au Welsh National Opera; Opera de Covent Garden, se produisant dans und Fall der Stadt Mahagonny, Billy Budd et Bretagne et en Irlande, on citera Federico Ruggiero (Alcina) à Montpellier; Bradamante Kat’á Kabanová, Palestrina de Pfitzner, Billy Der fliegende Holländer, et a fait ses débuts au (L’Arlesiana) et Pluto (Orphée aux enfers) à (Alcina) à Drottningholm; Rosmira (Partenope) Budd et Wozzeck. Il fit également deux débuts Metropolitan Opera de New York dans le rôle l’Opera Holland Park, Kyska (Sˇarkatán) et au Lyric Opera de Chicago; des rôles dans wagnériens importants à Covent Garden: de Lacˇa (Jenu°fa). En 2000, Kim Begley fit ses Julius (I cavalieri di Ekebù) au Festival de Guillaume Tell, Mosè in Egitto, Rigoletto, Siegmund sous la direction de Bernard débuts au Festival de Bayreuth dans le rôle de Wexford, Satyavan (Savitri) au Festival Mephistofele, et La fanciulla del West au Royal Haitink et Erik sous la direction de Simone Loge dans le cycle du Ring sous la direction du d’Aldeburgh. Il remporta un très vif succès Opera de Covent Garden, ainsi que de Young. regretté Giuseppe Sinopoli. dans le rôle de Rodolfo dans la nouvelle nombreux rôles à l’Opera North, au Welsh Depuis le début de sa carrière, Kim Begley Le répertoire de concert de Kim Begley production de La Bohème au Royal Albert Hall National Opera et à Glyndebourne. entretient également des liens étroits avec le inclut le War Requiem de Britten, le Dream of de Londres. Peter Wedd a chanté Tamino et

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Eisenstein (Die Fledermaus) avec l’Orchestre de a réalisé plus de trente enregistrements. Ce Après avoir étudié avec Sergiu Celibidache, Kong, au Japon pour une tournée de Carmen chambre européen, ainsi que Lysander Chœur ne cesse d’élargir sa réputation, David Parry commença sa carrière comme et au Mexique avec l’Orchestre symphonique (A Midsummer Night’s Dream) au Lyric travaillant avec la BBC et plusieurs maisons de assistant de Sir John Pritchard. Il fit ses débuts d’UNAM. Il a récemment dirigé plusieurs Theatre de Singapore. disques internationales. Pour Chandos, le avec l’English Music Theatre avant de devenir nouvelles productions dont Fidelio au Festival Très demandé en concert, il a travaillé avec Geoffrey Mitchell Choir a participé à plusieurs l’un des chefs d’orchestre au Städtische de Nouvelle-Zélande, Lucia di Lammermoor des orchestres tels que le London enregistrements pour Opera in English, une Bühnen à Dortmund et à Opera North. avec le New Israeli Opera et Don Giovanni a Philharmonic, le Royal Scottish National, le série de disques très prisés financée par la Peter Directeur musical d’Opera 80 de 1983 à 1987, l’Opéra d’état de Hannover. City of London Sinfonia, le Northern Sinfonia Moores Foundation. il est directeur musical d’Almeida Opera En studio, il a participé entre autres et le Bournemouth Symphony. Peter Wedd depuis sa fondation en 1992. à la production de la BBC Television de s’est produit au Festival de Covent Garden et Le London Philharmonic Orchestra est depuis Sa carrière, nationale et internationale, est Der Vampyr de Marschner, dirigeant aussi au Festival d’Édimbourg, en Slovénie au longtemps réputé pour la multiplicité de ses extrêmement remplie, aussi bien sur la scène vingt-huit intégrales d’opéras financées par la Festival de Maribor, et en Suisse au Festival de talents et son excellence en matière artistique. lyrique qu’en concert. Il a dirigé plusieurs Peter Moores Foundation. Plusieurs de ces Cernier. Ces qualités se manifestent dans la salle de productions de l’English National Opera intégrales furent enregistrées pour Opera Rara Peter Wedd a enregistré Turandot et Jenu˚fa concert comme sur la scène lyrique, dans ses et de l’Opera North et collabore et primées, Rosmonda d’Inghilterra de pour la série Opera in English de Chandos. nombreux enregistrements primés, ses tournées régulièrement avec le Philharmonia Orchestra Donizetti recevant en Belgique le Prix Cecilia. internationales innovatrices et son travail et le London Philharmonic Orchestra. C’est Pour Chandos, David Parry a dirigé une série Durant sa carrière de chanteur, Geoffrey d’avant-garde dans le domaine éducatif. Kurt avec Così fan tutte qu’il fit ses débuts au d’enregistrements d’airs d’opéra (avec Bruce Mitchell aborda un répertoire Masur est chef principal de l’Orchestre depuis Festival de Glyndebourne en 1996, une Ford, Diana Montague, Dennis O’Neill, remarquablement varié, depuis la musique septembre 2000. Parmi ses prédecesseurs, scène qu’il retrouva en 1998 pour diriger Alastair Miles, Yvonne Kenny, John ancienne jusqu’à la musique contemporaine, se depuis la fondation de l’Orchestre en 1932 par la création mondiale de Flight de Jonathan Tomlinson, Della Jones et Andrew Shore) produisant en Scandinavie, en Allemagne, Sir Thomas Beecham, notons Sir Adrian Boult, Dove. de même que The Marriage of Figaro, dans l’ancienne Tchécoslovaquie, au Canada et Sir John Pritchard, Bernard Haitink, Sir Georg Il séjourne fréquemment en Espagne où il a A Masked Ball, Don Giovanni, Don Pasquale, en Australasie. Après avoir fait ses premières Solti, Klaus Tennstedt et Franz Welser-Möst. dirigé en concert la plupart des grands L’elisir d’amore, Lucia di Lammermoor, Ernani, armes de chef d’orchestre avec la BBC, il Depuis 1992, le London Philharmonic orchestres espagnols. C’est lui qui dirigea la Il trovatore, Aida, Faust, Cavalleria rusticana, décida de prendre une part active dans ce Orchestra est orchestre symphonique en première espagnole de Peter Grimes à Madrid Pagliacci, La bohème, Turandot, domaine avec ses propres chanteurs et fonda le résidence au Royal Festival Hall. Il est et en 1996 la première production espagnole l’enregistrement primé de Tosca et des extraits Geoffrey Mitchell Choir. Par suite de ses également orchestre symphonique en résidence de The Rake’s Progress. Il a dirigé en Allemagne, de Der Rosenkavalier, tous ces enregistrements premiers enregistrements l’ensemble travaille au Glyndebourne Festival Opera depuis trente- en Suisse, aux Pays-Bas, au Festival de Pesaro étant réalisés en collaboration avec la Peter depuis longtemps avec Opera Rara pour qui il huit ans. en Italie, au Festival international de Hong- Moores Foundation.

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All’inizio il dramma a cui assiste l’eroe di salvezza dell’Olandese molto sul serio e scrisse Come Wagner scoprì l’Olandese volante Heine sembra una diretta narrazione della in un appunto autobiografico: “Il trattamento leggenda, ma poi fornisce una via di uscita per drammatico di Heine è di sua invezione – Nel dicembre del 1842 un giornale d’arte continuare a navigare fino al Giorno del l’Olandese maledetto: “Il diavolo prese in della redenzione del suo Ahasuerus (l’Ebreo locale riferiva dei preparativi per una nuova Giudizio.” parola il capitano della nave che è costretto a errante) del mare mi ha datto tutto quello che opera presso l’Opera della Corte sassone di Se la leggenda dell’Olandese Volante ha una vagare sui mari fino al giorno del giudizio, a mi serviva per utilizzare la leggenda per un Dresda. “Si svolgono alacremente le prove per base nei fatti, sicuramente si sviluppò dagli meno che non venga salvato dalla devozione di soggetto operistico. Sono arrivato a un accordo l’allestimento della seconda opera di Richard eventi nella rivalità commerciale anglo- una donna. Nella sua stupidità il diavolo non con lo stesso Heine…” Wagner, che è diventato famoso da un giorno olandese e nelle guerre del XVII e XVIII crede nella devozione della donna e così Wagner aveva conosciuto Heine a Parigi; era all’altro con il suo Rienzi… si intitola secolo, periodo durante il quale i mercanti concesse al capitano maledetto di sbarcare sulla un altro intellettuale tedesco esiliato che gli fu L’Olandese volante, e Wagner ha utilizzato la olandesi doppiavano regolarmente il Capo di terraferma una volta ogni sette anni, per brevemente amico durante il periodo in cui, a storia fantastica di Heine, abbinandola alla Buona Speranza del Sudafrica. (Recentemente sposarsi e in quel modo cercare la propria corto di quattrini, (nonostante una lettera di narrativa inglese e ad alcune aggiunte proprie.” un documentario televisivo olandese si è salvezza.” Così lo Schnabelewopski di Heine presentazione del potente e affermato La “storia fantastica” era stata creata dal addirittura chiesto se l’espressione “Vliegende può vedere la “moglie” dell’Olandese Volante Meyerbeer) il compositore non riuscì a farsi un poeta tedesco Heinrich Heine, chi aveva Hollaender” fosse la corruzione del nome buttarsi da uno scoglio e in conseguenza di ciò nome nella capitale francese. Dopo la loro un’affezionatamente ossessionato da tutto “Vergulde Vlamingh” (“Fiammingo dorato”), “la maledizione viene annullata, l’Olandese è conversazione un amico comune disse di quello che era olandese. Nell’opera di Heine un inflessibile capitano di mare olandese di salvo e vediamo la nave spettrale affondare Wagner: “Da un individuo così pieno di Dalle memorie di Herr von Schnabelewopski quell’epoca.) E nella letteratura inglese e nelle profondità dell’oceano”. cultura moderna è possible attendersi lo (1834) il viaggiatore protagonista scopre la americana il decennio del 1790 vide la Heine desiderava che questo nuovo colpo di sviluppo di una solida e potente musica leggenda dell’Olandese in un lavoro teatrale ad comparsa di un fiume di poesie e storie sul scena nella conclusione fosse moderna.” Le prime note di una “solida e Amsterdam: “Tutti conosceranno la storia di tema di un marinaio maledetto in un viaggio un’interpretazione-burla di quella che potente musica moderna” si fecero certamente quella nave segnata dal destino che non può eterno. The Rhyme of the Ancient Mariner di considerava una storia di fantasmi udire nella partitura dell’Olandese, dove mai entrare nel riparo di un porto e che vaga Samuel Coleridge Taylor, Rokeby di Sir Walter sentimentale e romantica. “La morale di Wagner per la prima volta introdusse l’arte sui mari da tempo immemorabile. Quella Scott, The Red Rover di James Fenimore questo lavoro, per quanto riguarda le donne”, della caratterizzazione attraverso il linguaggio terribile nave portava il nome del suo Cooper e The Narrative of Arthur Gordon Pym conclude, “è che devono guardarsi bene dallo armonico oltre che attraverso il colore, il ritmo capitano, un Olandese che un tempo aveva di Edgar Alan Poe sono forse i migliori esempi sposare un Olandese Volante; e noi uomini e il tempo; un cromatismo drammatico, giurato per tutti i diavoli che avrebbe doppiato di quello che il corrispondente di Dresda aveva dovremmo trarre da questo la lezione che nel moderno per l’Olandese, Senta, sua un capo o l’altro, a dispetto della violentissima giustamente definito le “storie inglesi” della migliore dei casi le donne saranno la nostra tormentata salvatrice futura, e un diatonismo tempesta che infuriava, anche se avesse dovuto leggenda. rovina.” Ma Wagner prese la possibilità della di vecchio stile, da grand opéra, per la

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domesticità borghese di Daland, Mary e le costretta a fare appunto tappa a Borøya a causa con il suo originale. O forse voleva annacquare furono tradotti): Vanderdecken’s Message Home filatrici. Quando Wagner avviò la di una feroce tempesta quello giuglio e che le la questione del suo debito con Heine. di John Howison (il primo testo che avrebbe composizione della nuova opera a Parigi, scogliere di granito dell’isola creano una parete (Trent’anni dopo, quando riscrisse le sue dato il nome allo spettrale capitano) e sperava di poter avere una buona audizione di echi che potrebbe avere ispirato i richiami memorie, Wagner avrebbe sostenuto che “il The Phantom Ship di Frederick Marryat (che con alcuni dei suoi brani alla famosa Opéra. del coro dei marinai nella prima scena trattamento di Heine era preso a prestito da contiene una redenzione finale e lanciò una Alla fine sarebbe riuscito a ottenere solo un dell’opera. una commedia olandese con lo stesso titolo”, mini mania dell’Olandese volante in Olanda) – magro compenso vendendo il canovaccio Tuttavia l’importanza della Norvegia per dimenticando la redenzione conclusiva che e una serie di lavori teatrali olandesi originali o dell’opera alla direzione del teatro. l’opera andava ben oltre le influenze letterali. era stata un’invenzione originale del poeta). tradotti (che Heine potrebbe aver visto La storia di Heine, il suo incontro con Ancora a poche settimane di distanza dalla O forse perché concordava con l’idea che durante le sue regolari visite in quell Paese). l’autore e la vita di un artista in difficoltà prima dell’Olandese, nel gennaio 1843, la stava prendendo forma nella sua mente, Non è un caso inoltre che i primi racconti di economiche a Parigi furono sproni importanti vicenda era ambientata in Scozia (l’Atto I si secondo cui nella vita di un vero artista la vampiri di Polidori e Byron, e Frankenstein di per il progetto wagneriano dell’Olandese, ma svolgeva a “Holystrand”, Senta si chiamava creazione di un’opera deve essere sempre Mary Shelley siano esatti contemporanei di un elemento autobiografico della storia si Anna, suo padre era Donald o solo “lo collegata ad eventi “reali”. In seguito Wagner queste storie di spettri marittimi dell’Olandese. collega anche alla località in cui si svolge la scozzese”, ed Erik era Georg). Questo nasceva sostenne che la sua “opera romantica” del 1843 Entrambi i filoni utilizzano l’idea del non- storia. Se Wagner lesse la storia di Heine presumibilmente dal fatto che non solo la era il vero punto di inizio della propria carriera morto o di personaggi che non possono morire durante il periodo in cui fu direttore musicale storia di Heine, ma anche una storia d’orrore di poeta e drammaturgo musicale, una finchè qualche delitto o peccato commesso nel a Riga, avrà avuto fresco nella memoria il tedesca di successo dell’epoca nota a Wagner, convenzione sposata dal Festival di Bayreuth passato non venga formalmente espiato. Come viaggio interrotto per mare che fece dalla intitolata The Cave at Steenfoll e un popolare che ha sempre declinato di allestire le sue scrisse nelle sue memorie Edward Fitzball, Russia alla Francia nell’estate del 1839. Questo musical contemporaneo (probabilmente noto a prime opere. autore del musical Phantom Ship: “Questo tipo viaggio lo aveva portato quasi letteralmente Heine) dal titolo L’Olandese volante, o Il Sebbene alla sua prima di Dresda l’Olandese di dramma allora era molto in voga e sulla riva della costa norvegese meridionale Vascello fantasma erano tutti ambientati in lasciasse un segno più debole rispetto al l’Olandese volante non era da meno di proprio nel punto in cui avrebbe finalmente Scozia, la remota e mitica terra di grotte, relitti successo precedente, il lungo, vistoso e più Frankenstein o Der Freischütz per quanto ambientato la sua storia (Sandvika sull’isola di e spettri marini. Poi (sembra) Wagner cambiò convenzionale Rienzi, la riuscita della nuova riguarda orrori e luci spettrali.” Borøya). Sebbene la ricerca locale norvegese si idea all’improvviso e trasferì la storia in opera fu garantita dal fatto che Wagner Il libretto scritto dallo stesso Wagner sia successivamente affannata a rintracciare Norvegia. Perché? Forse perché venne a sapere finalmente aveva messo le mani su un attingeva a caratteristiche comuni a molte ogni particolare dei due giorni del soggiorno che a Parigi aveva appena aperto un’opera, argomento veramente popolare. Al di là delle versioni della storia del vascello fantasma: il di Wagner e a trovare i suoi equivalenti nel ispirata (non molto da vicino) al canovaccio opere degli autori citati sopra, nei primi tentativo da parte dell’equipaggio di spettri di libretto dell’Olandese, attualmente si può dire dell’Olandese da lui venduto all’Opéra e decenni del diciottesimo secolo esistevano due fare recapitare a casa lettere indirizzate a con sicurezza solo che la Thetis (la sua nave) fu voleva prendere le distanze da quel progetto romanzi inglesi che ebbero vasta diffusione (e destinatari che si rivelano morti da tempo

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(deriso dai marinai norvegesi nella scena del suo folle atto di arroganza (il giuramento di Utilizzando fino in fondo le sue vaste letture e Lo stesso Wagner non riuscì mai a realizzare molo), le magiche proprietà di navigazione doppiare il capo a tutti i costi). Questo si può le sue conoscenze musicali, Wagner riuscì non quello che sembra fosse il suo ideale di della nave stregata dell’Olandese (sottolineate ottenere solo quando un essere umano della solo a fare del suo Olandese un classico di quello presentare l’opera in un solo atto. Viene dallo stesso Olandese nella scena di Sandwike), vita “normale” riesce a comprendere che divenne noto come genere Schauerromantik eseguita così nella presente registrazione, che e il vecchio ritratto di famiglia dell’Olandese pienamente e provare compassione per l’azione (“romantico dell’orrore”) ma a superare i suoi include inoltre tutte le modifiche completate stesso (sempre presente durante l’azione in casa e la sofferenza del sognatore. rivali, come l’Amleto di Shakespeare aveva fatto dal compositore per la partitura durante tutta di Daland). Con una svolta significativa nella Wagner introduce inoltre influenze da fonti per la tragedia giacobita e la Tosca di Puccini la sua vita. sua creazione di una forma operistica parallela meno specifiche. I tentativi frustrati di suicidio avrebbe fatto per l’opera del verismo. Con il all’utilizzo di diverse lingue armoniche per di Ahasuerus nei poemi epici di Nicholas progredire della sua carriera, Wagner fece © 2004 Mike Ashman sottolineare la caratterizzazione, Wagner riuscì Lenau sull’Ebreo errante suggerivano il affettuosamente ritorno alla partitura ad abbinare e mescolare le influenze e i fallimento dell’Olandese (come si narra nel dell’Olandese ma, quando ne dirigeva La leggenda dell’Olandese volante riferimenti delle sue letture con un intuito da monologo di apertura) di fare incagliare la personalmente le esecuzioni, mai senza apportare Il capitano di mare olandese di una nave romanziere. Gli esperimenti scientifici quasi propria nave o farsi uccidere dai pirati. La qualche cambiamento. Prima addolcì la mercantile, colto da una terribile tempesta contemporanei di Mesmer con il magnetismo collocazione e il contenuto della Ballata di chiassosità di alcune sezioni della partitura mentre cercava di doppiare il capo di Buona e il fascino romantico dell’epoca per i sogni e Senta – parte della prima musica per l’opera originale, soprattutto per gli ottoni. (Hector Speranza, giurò che ci sarebbe riuscito le trance, trovano un posto nel suo libretto composta a Parigi ñ devono molto alla Ballata Berlioz, in una recensione generalmente anche se avesse dovuto farlo fino al giorno del nell’ossessione di Senta per il ritratto dell’eroina de La dama bianca di Boieldieu, il favorevole di una delle prime esecuzioni a Giudizio. Udita la bestemmia, Satana dell’Olandese e la sua immediata cui secondo atto addirittura inizia con una Dresda aveva criticato la dipendenza dagli effetti condannò lui e il suo equipaggio a identificazione per il sogno in cui Erik predice scena di tessitura. Marschner, un di tremolo e dalle settime diminuite.) Poi navigare per l’eternità. All’Olandese fu lo svolgimento successivo dell’opera. Andando contemporaneo di cui Wagner conobbe e modificò la conclusione sia dell’ouverture sia concessa una possibilità di redenzione: ben oltre la semplice idea del dono di una vita diresse le partiture, ambientò il suo Vampiro in dell’opera alla luce della sua “nuova” musica di avrebbe potuto lasciare la sua nave una per salvarne un’altra proposta dal momento Scozia. Include una ballata cantata da una trasformazione nello stile del Tristano, volta ogni sette anni per cercare una culminante della storia di Heine, Wagner ragazza del posto sulla leggenda del vampiro presentando una illustrazione musicale donna che lo amasse e gli rimanesse fedele giunse a una percezione psicoanalitica del che descrive l’antieroe con la stessa frase più chiara della conclusione redentrice della fino alla morte. Solo questa fedeltà avrebbe nucleo centrale della leggenda dell’Olandese. utilizzata da Senta per l’Olandese, “den storia. Infine, mentre lavorava a un allestimento potuto vincere la maledizione. Sono La sua storia diventa un processo di bleichen Mann” (“l’uomo pallido”, che “modello” per re Ludwig II a Monaco, pensò di passati altri sette anni e l’Olandese ritorna reintegrazione in cui il sognatore (il marinaio normalmente contrassegna il non-morto riscrivere completamente la Ballata di Senta, sulla terraferma per cercare ancora una volta maledetto) deve essere riportato al suo oggetto di desiderio sessuale nella letteratura senza riuscire però ad andare oltre a un primo una donna che lo salvi dal suo destino originale, “giusto” stato mentale precedente il dell’Ottocento). abbozzo. infinito.

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Argomento Scena 2 e bevande. I Norvegesi rimangono a disagio di Bayreuth, dove è stato applaudito nelle vesti di 5 Sotto la supervisione della governante di fronte al silenzio dell’altro equipaggio. Wotan (Das Rhinegold e Die Walküre), il COMPACT DISC ONE Daland, Mary, le donne lavorano nella casa di Quando gli altri finalmente reagiscono, lo Viandante (Siegfried ), Titurel e Gurnemanz Daland mentre gli uomini sono in mare fanno con un canto che fa fuggire i Norvegesi, (Parsifal ), Mark (Tristan und Isolde), Heinrich L’azione è ambientata sulla costa norvegese. terrorizzati. (Lohengrin) e Hagen (Götterdämmerung). COMPACT DISC TWO 8 – 9 Erik supplica Senta di mantenere le Gli impegni all’estero lo ganno portato a Scena 1 promesse della loro infanzia. 10 L’Olandese Ginevra, Lisbona, New York, Chicago, San 1 – 2 La nave di Daland, ormai quasi in 1 Senta è turbata dal leggendario Olandese e per caso ascolta la conversazione e, nonostante Francisco, San Diego, Parigi, Amsterdam, porto, è costretta a gettare l’ancora a sette racconta la sua storia alle sue compagne; le assicurazioni di Senta, pensa di essere stato Berlino (Deutsche Oper e Deutsche miglia di distanza lungo la costa per ripararsi annuncia che proprio lei è la donna che lo tradito: la sua unica speranza di redenzione è Staatsoper), Dresda, Monaco e Vienna, ai da una violenta tempesta. L’uomo pensa alla salverà con il suo amore. perduta. Si avvia verso la sua nave e mentre si festival di Orange, Aix-en-Provence, figlia, Senta. L’equipaggio sfinito ben presto si Senta è promessa al cacciatore Erik, che allontana, Senta si sacrifica. L’Olandese è così Salisburgo, Edimburgo e al Maggio Musicale addormenta, compreso il Timoniere che l’ama dall’infanzia. 2 Entra Erik, redento. fiorentino. Il suo repertorio inoltre include Daland ha messo di sentinella. profondamente turbato dall’ossessione di Senta Hans Sachs (Die Meistersinger von Nürnberg), 3 Compare una seconda nave, quella per la leggenda dell’Olandese; le racconta un Traduzione: Emanuela Guastella Landgraf (Tannhäuser), il ruolo di protagonista dell’Olandese volante. L’Olandese racconta di suo sogno in cui ha visto Daland tornare a in Der fliegende Holländer (L’Olandese volante), aver cercato di porre fine alla sua vita di eterno casa accompagnato dall’Olandese, dopo di che John Tomlinson è nato nel Lancashire. Ha il Barone Ochs (Der Rosenkavalier), Orestes tormento annegandosi, incagliando la sua nave lei era partita in mare con lui. Questo serve conseguito la laurea in Ingegneria civile presso (Elektra), Moses (Moses und Aron), Green e combattendo con i pirati. Tutto è stato vano. solo a intensificare le preoccupazioni della l’Università di Manchester prima di vincere Knight nella prima mondiale di Gawain and 4 Riappare Daland sul ponte e rimprovera donna ed Erik esce disperato. una borsa di studio per il Royal Manchester the Green Knight di Harrison Birtwistle, Rocco il Timoniere che non ha fatto da sentinella. 3 – 4 Arriva Daland con l’Olandese. College of Music (oggi Royal Northern (Fidelio), re Filippo (Don Carlos), Sarastro (Die Vedono la nave dell’Olandese e Daland si offre Senta lo riconosce subito e, 5 – 6 rimasta College of Music). Zauberflöte), il Commendatore (Don di ospitarlo. L’Olandese sale sulla nave di sola con lui, gli rivela che è lei la donna tanto John Tomlinson canta regolarmente con la Giovanni), i quattro ruoli di Lindorf, Daland e gli offre molte ricchezze in cambio di cercata che lo salverà. English National Opera dal 1974, e con la Coppelius, Dr Miracle e Dapertutto nei una notte di ospitalità e anche la possibilità di Royal Opera, Covent Garden, dal 1977. Contes d’Hoffmann, Golaud e Arkel (Pelléas un matrimonio con Senta, la figlia di Daland. Scena 3 Inoltre è comparso con Opera North, Scottish et Mélisande), Boromeo (Palestrina), Dosifey Il vento cambia ed entrambe le navi possono 7 Mentre l’equipaggio di Daland festeggia il Opera, Glyndebourne Festival Opera e (Kovanchina) e i ruoli di protagonista in Boris procedere verso il porto della patria di ritorno a casa, quello dell’Olandese rimane Glyndebourne Touring Opera e Kent Opera. Godunov, Oberto e Attila. Daland. silenzioso e addirittura rifiuta l’offerta di cibo Dal 1988 partecipa ogni anno al festival di John Tomlinson ha un ricco repertorio

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concertistico e ha cantato con le principali di Elisabeth (Tannhäuser); ad Amburgo in canta regolarmente con le compagnie Barber. orchestre britanniche oltre che in Germania, quelle di Freia e Gutrune nel ciclo del Ring operistiche e le orchestre sinfoniche più Nata a Dublino, Patricia Bardon ha studiato Italia, Belgio, Olanda, Francia, Spagna, wagneriano; a Göteborg nelle vesti di Tosca; prestigiose del mondo. Ha proposto con la Dássa Veronica Dunne presso il College Danimarca e USA. La sua ricca discografia ha cantato la Contessa (Le nozze di Figaro) a interpretazioni formidabili di ruoli diversi e of Music e si è messa in luce come al concorso comprende Gabriella di Vergy di Donizetti per Dresda; Katerina (Greek Passion) al Festival di difficili quali il barone Ochs (Der Rosenkavalier), Cardiff Singer of the World, di cui è stata la Opera Rara, e per la serie Opera in English di Bregenz; Suor Angelica (Il trittico) a Colonia Hagen (Götterdämmerung),Claggart (Billy più giovane vincitrice. Da allora si è affermata Chandos, Julius Caesar, Mary Stuart, Rigoletto, ed Elsa (Lohengrin) a Basilea. Budd ), Sarastro (Die Zauberflöte), re Filippo e a livello internazionale per le sue Werther, dischi di momenti salienti da Boris Altri ruoli importanti comprendono Senta l’Inquisitore (Don Carlos), Heinrich (Lohengrin), interpretazioni in teatro e in concerto. Godunov e Der Rosenkavalier, e due dischi di alla Metropolitan Opera, alla Wiener Staatsoper Hunding (Die Walküre) e Mefistofele (Faust) con Le sue numerose apparizioni teatrali arie (Great Operatic Arias). e all’Opera De Vlaamse; Marguerite (Faust) ed compagnie quali l’Opéra de Paris-Bastille, il comprendono il ruolo di protagonista in John Tomlinson ha ricevuto l’onorificenza Elisabeth (Tannhäuser) al Festival di Savonlinna; Festival di Bayreuth, la Royal Opera, la Tancredi e Arsace (Semiramide) alla Fenice di di Commander of the British Empire (CBE) Manon Lescaut alla English National Opera; Metropolitan Opera di New York, la Lyric Venezia, il ruolo di protagonista in Carmen nel 1997. Tatjana (Eugenio Onieghin) al Teatro La Opera di Chicago, la Canadian Opera, La alla Staatsoper di Amburgo, Welsh National Monnaie di Bruxelles; Katerina (Lady Macbeth Fenice di Venezia, il Teatro del Liceu di Opera e Scottish Opera; il ruolo di Nata a Stoccolma, Nina Stemme ha studiato del distretto di Mzensk) all’Opera di Ginevra; Barcellona, L’Opera di Monaco, la Staatsoper di protagonista nella Cenerentola al Teatro La viola presso la Scuola musicale Adolf Fredrik. Sieglinde (Die Walküre) a Colonia, Nyssia Vienna e il Teatro Colón di Buenos Aires, oltre Monnaie e a Losanna; il ruolo di protagonista Ha studiato amministrazione aziendale ed (König Kandaules) al Festival di Salisburgo; che nei teatri lirici di San Francisco, Dallas, in Orlando a New York, Parigi, Lione e economia a Stoccolma, frequentando allo stesso Isolde (Tristan und Isolde) al Festival di Houston, Santa Fe e Washington. Anversa; Penelope (Il ritorno d’Ulisse in patria) tempo un corso presso l’Opera Studio di Glyndebourne e alla Royal Opera di Stoccolma; È comparso in concerto con le orchestre al Maggio Musicale e ad Atene; Cornelia Stoccolma e completando gli studi di canto al la Marescialla (Der Rosenkavalier) all’Opera di sinfoniche di Chicago, San Francisco, St (Giulio Caesare) e Amastris (Serse) alla National College of Opera di Stoccolma. È stata Göteborg, e Marie (Wozzeck) all’Opéra National Louis, Houston, Boston, la National Staatsoper di Monaco, a Dresda e Montpellier; finalista al concorso Cardiff Singer of the de Lyon. Symphony, l’Orchestra del Minnesota, la Anna (Les Troyens) al Maggio Musicale; World e vincitrice dei concorsi di Placido Le apparizioni in concerto comprendono la London Philharmonic Orchestra, la Halle Smeton (Anna Bolena) a San Francisco; il Domingo. nona Sinfonia di Beethoven, Vier letzte Lieder Orchestra, al Concertgebouw di Amsterdam e ruolo principale nel Tamerlano a Beaune; Nel 1995 entrava all’Opera di Colonia dove di Strauss e la scena finale dal Capriccio di al Festival di Edimburgo oltre che con Ursule (Beatrice and Benedict) ad Amsterdam e ha interpretato, tra l’altro, Pamina (Die Strauss con direttori come Roberto Abbado e orchestre di Parigi, Siviglia e Valencia. per la Welsh National Opera; Ruggiero Zauberflöte), la Contessa (Le nozze di Figaro), Antonio Pappano. La discografia di Eric Halfvarson (Alcina) a Montpellier; Bradamante (Alcina) a Mimì (La Bohème) e Agathe (Der Freischütz). comprende Don Carlos, Billy Budd, Rayok Drottningholm; Rosmira (Partenope) con la È stata ospite all’Opera De Vlaamse nelle vesti Il basso Eric Halfvarson, nato nell’Illinois, di Sostakoviˇˇ c e Antony and Cleopatra di Lyric Opera di Chicago; ha cantato nel

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Guillaume Tell, Mosè in Egitto, Rigoletto, diretto da Simone Young,. Giuseppe Sinopoli. successo nel ruolo di Rodolfo in un nuovo Mefistofele e La fanciulla del West alla Royal Durante tutta la sua carriera, Kim Begley ha Versatile interprete concertistico, Kim allestimento della Bohème alla Royal Albert Opera House, oltre a interpretare numerosi avuto un rapporto continuo con il Begley ha un repertorio che comprende il War Hall di Londra. Peter Wedd ha cantato ruoli per Opera North, Welsh National Opera Glyndebourne Festival e la English National Requiem di Britten, The Dream of Gerontius di Tamino e Eisenstein (Die Fledermaus) per la e Glyndebourne. Opera. I principali ruoli operistici di Janáˇcek, Elgar, la Sinfonia N. 9 e Missa Solemnis di European Chamber Opera oltre a Lysander Patricia Bardon ha un ampio e vario molto importanti nella sua carriera, sono stati Beethoven, e Das Lied von der Erde e la (A Midsummer Night’s Dream) per il Lyric repertorio concertistico e lavora con molte eseguiti per la prima volta a Glyndebourne, che Sinfonia N. 8 di Mahler. La sua ricca Theatre di Singapore. orchestre importanti in auditori tra cui il ha visto anche il suo primo Florestano (Fidelio). discografia comprende Falstaff, Salome, È molto richiesto nei concerti e ha lavorato Lincoln Center, il Concertgebouw, La Scala, il Per English National Opera ha interpretato Das Rheingold e il Dr Faustus di Busoni che ha tra l’altro con la London Philharmonic, la complesso londinese del South Bank, Berlino, importanti ruoli di Britten, Janáˇcek e ricevuto un premio Grammy. Royal Scottish National, City of London Madrid, Bruxelles, i Prom, il Festival di Mussorgsky oltre al Parsifal di Wagner. Sinfonia, la Northern Sinfonia e la Edimburgo. Inoltre ha dato recital a Tokyo, Si è esibito nei teatri lirici di Francoforte Peter Wedd ha studiato presso la Guildhall Bournemouth Symphony. Peter Wedd ha Aix-en-Provence, Covent Garden, Montreux, (Lohengrin), Ginevra (Boris Godunov), Colonia School of Music and Drama con il compianto partecipato ai Festival del Covent Garden e di Dublino. (Das Rheingold ), Barcellona (L’Affaire William McAlpine e successivamente presso il Edimburgo e all estero al Maribor Festival in La discografia comprende Orlando, Elijah, Makropoulos), Lione (Dr Faustus), Berlino National Opera Studio. È stato solista della Slovenia e al Cernier Festival in Svizzera. Eugenio Onieghin, Serse in una registrazione (Der Freischütz), Bruxelles (Khovanchina), Royal Opera, Covent Garden dal 1999 al 2001 La discografia per la serie Opera in English dal vivo dalla Staatsoper di Monaco, Rigoletto Toulouse (Die Walküre, Peter Grimes), oltre che ed è regolarmente ospite della Welsh National di Chandos comprende Turandot e Jen˚ufa. e, nell’ambito della serie Opera in English di ad Amsterdam (Peter Grimes), a Parigia nei Opera. Come solista della Royal Opera ha Chandos, il ruolo di protagonista in teatri Bastille (Mahagonny, Billy Budd, cantato Ywain (Gawain and the Green Knight) e La carriera di cantante di Geoffrey Mitchell Carmen. L’Olandese volante) e Châtelet (Fidelio, Kudrjas (Kat’á Kabanová). Alla Welsh National racchiude un repertorio notevole che spazia Dr Faustus), alla Scala di Milano (Der Opera i suoi ruoli hann compreso Don José dalla musica antica a quella contemporanea e Dopo aver completato gli studi, il tenore Freischütz, Das Rheingold ) e allla Staatsoper di (Carmen), Tamino (Die Zauberflöte), Don che l’ha portato in Scandinavia, Germania, britannico Kim Begley entrava alla Royal Berlino (Der Freischütz). Alla Lyric Opera di Ottavio (Don Giovanni) e Lacˇa (Jen˚ufa). nella ex Cecoslovacchia, in Canada e Opera House, Covent Garden come tenore Chicago ha interpetato L’Affaire Makropoulos, Altre apparizioni nel Regno Unito e in Australasia. L’esperienza di direzione degli inizi solista e qui compariva in Katá Kabanova, Mahagonny, Billy Budd e L’Olandese Volante, e Irlanda hanno compreso Federico (L’Arlesiana) con la BBC lo ha condotto ad un maggiore Palestrina di Pfitzner, Billy Budd e Wozzeck. ha esordito alla Metropolitan Opera nelle vesti e Pluto (Orphée aux enfers) per Opera Holland coinvolgimento con i suoi stessi cantanti e Il Covent Garden è stato anche il teatro di due di Laˇca ( Jenu°fa). Nel 2000 Kim Begley Park, Kyska (Sarkatánˇ ) e Julius (I cavalieri di inoltre alla creazione del Geoffrey Mitchell dei suoi principali debutti wagneriani: esordiva al Festival di Bayreuth nel ruolo di Ekebù) al Wexford Festival, e Satyavan (Savitri) Choir. Le prime registrazioni sono sfociate nel Siegmund diretto da Bernard Haitink, ed Erik Loge nel ciclo del Ring, diretto dal compianto al Festival di Aldeburgh e ha riscosso grande coinvolgimento a lungo termine del Coro con

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Opera Rara, per la quale ha inciso più di come assistente di Sir John Pritchard. Ha Nuova Zelanda, Lucia di Lammermoor alla diretto una serie di registrazioni di arie d’opera trenta registrazioni. Il Coro gode di una fama debuttato all’English Music Theatre, quindi è New Israeli Opera e Don Giovanni alla (con Bruce Ford, Diana Montague, Dennis sempre maggiore con ulteriore lavoro dalla diventato direttore d’orchestra presso la Staatsoper di Hannover. O’Neill, Alastair Miles, Yvonne Kenny, John BBC e da case discografiche internazionali. Per Städtische Bühnen di Dortmund e la Opera Il suo lavoro in studio di registrazione Tomlinson, Della Jones e Andrew Shore), la Chandos il Geoffrey Mitchell Choir ha North. È stato Direttore Musicale di comprende la produzione della BBC di nonché The Marriage of Figaro, A Masked Ball, partecipato a numerose registrazioni nelle Opera 80 dal 1983 al 1987 e dal 1992 è stato Der Vampyr di Marschner nonché ventotto Idomeneo, Carmen, The Thieving Magpie, applaudite serie di Opera in English con il Direttore Musicale fondatore dell’Opera di registrazioni operistiche complete con il Don Giovanni, Don Pasquale, The Elixir of patrocinio della Peter Moores Foundation. Almeida. patrocinio della Peter Moores Foundation. Tra Love, Lucia of Lammermoor, Ernani, Lavora copiosamente in opere e concerti, a questi vi sono numerosi dischi per l’etichetta Il trovatore, Aida, Faust, Cavalleria rusticana, La London Philharmonic Orchestra è da livello nazionale ed internazionale. Ha diretto Opera Rara che hanno vinti parecchi premi, Pagliacci, La bohème, Turandot, Tosca tempo apprezzata per la sua versatilità e diverse produzioni presso la English National tra cui il belga Prix Cecilia per la Rosmonda (vincitrice di un premio) e brani scelti da l’altissima levatura artistica. Queste qualità Opera e la Opera North e appare regolarmente d’Inghilterra di Donizetti. Per Chandos ha Der Rosenkavalier, tutte in collaborazione con sono evidenti nelle sale da concerto e nei teatri, con la Philharmonia Orchestra e la London la Peter Moores Foundation. nella ricca discografia pluripremiata, nelle Philharmonic Orchestra. Nel 1996 ha brillanti tournée internazionali e nelle iniziative debuttato con Così fan tutte al Glyndebourne avanzate svolte nel settore dell’istruzione. Kurt Festival, dove nel 1998 ha diretto la prima Masur è Direttore stabile dell’orchestra dal mondiale di Flight di Jonathan Dove. settembre del 2000. Tra i suoi predecessori dal È un frequente visitatore della Spagna dove 1932, anno in cui sir Thomas Beecham si è esibito in concerto con la maggior parte fondava l’orchestra, vanno ricordati sir Adrian delle maggiori orchestre spagnole. Ha diretto Boult, sir John Pritchard, Bernard Haitink, sir la prima spagnola di Peter Grimes a Madrid e Georg Solti, Klaus Tennstedt e Franz Welser- nel 1996 la prima produzione spagnola di Möst. Dal 1992 la London Philharmonic è The Rake’s Progress. È apparso in Germania, l’orchestra residente della Royal Festival Hall. Svizzera, Paesi Bassi, al Festival di Pesaro in Inoltre è l’orchestra sinfonica residente della Italia, al Festival Internazionale di Hong Kong, Glyndebourne Festival Opera da 38 anni. in Giappone con una tournée della Carmen e in Messico con la UNAM Symphony David Parry ha studiato con Sergiu Orchestra. Recenti nuove produzioni da lui Celibidache ed ha cominciato la sua carriera dirette comprendono il Fidelio al Festival della

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On session: John Tomlinson On session: Nina Stemme Bill Cooper Bill Cooper Bill

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On session: Eric Halfvarson On session: Kim Begley Bill Cooper Bill Cooper Bill

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On session: Patricia Bardon On session: John Tomlinson

Bill Cooper Bill and Eric Halfvarson Cooper Bill

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COMPACT DISC ONE Daland my true love, I am here. Should the south wind blow no more… I know this bay; I’ve sailed here all my life. I’m But should the south wind blow no more, (He falls asleep again. Silently the Duchman’s 1 Overture cursed! I’ll never come home to you: ghostly crew berth their ship. The Dutchman comes There stands the house I know so well, oh, gentle south wind, find that shore ashore.) Scene 1 Senta, my child, looks out for my arrival; where my love is ever true! A steep rocky shore. The greater part of the stage is No. 2: Recitative and Aria then up this blows from out the pit of hell! Ho, hoyo! Hallohoho, yoloho, ho, ho! taken up by a wide expanse of sea. Terrible weather To trust a wind is to trust in the Devil! (A wave strikes and shakes the ship violently. The Dutchman with a violent storm. Daland’s ship has just (going on board ) Steersman starts up, and looks about him. Satisfied 3 The time has come, the seven years have reached dropped anchor close to the shore; the sailors are We’ll rest… and wait. Just let it blow. that no harm has been done, he sits down again their appointed end. calling to each other at their work of furling the Such savage fury can’t endure. and sings, while drowsiness gradually overpowers The fickle sea casts me ashore again. Ha! sails, throwing out the ropes, etc. Daland has gone (on board ) him.) Proud and mighty sea! It won’t be long before ashore. He is climbing onto a rock from where he Hey, sailors! Take yourselves below On those southerly shores in distant lands, you must reclaim me. can look inland and establish his location. and get some rest. All’s well I’m sure. my love, I thought of you! Your rage soon passes; not so my endless pain! No. l: Introduction (The sailors go below.) Through the thundering waves of Moorish The grace for which my soul is searching Now, Steersman, you’ll have to keep awake and strands, always shall elude me! Sailors (as they work) watch. a gift I brought for you! You, unbounded ocean hold me in thrall, 2 Hoyohey! Halloyo! Ho! Hey! Hey! Ya! The danger’s past, but stay here just in case. My true love, sing the south wind’s song; until your tide refuses to turn, Hallohey! it brings you a golden band. until your watery depths run dry! Steersman Oh, south wind, carry me along, I begged the deep to drag me down, Daland (coming down from the rock) I’ll do my best! Sleep soundly down below! I thought so! Seven miles at most to place it upon her hand! Hohoyeh! Hollaho! down to the caverns far beneath: the storm has dragged us down the coast. (Daland goes down into the cabin. The steersman (He struggles against fatigue, and at last falls but, ah, my death was not to be! And when we thought the worst was past, remains alone on deck. The storm has somewhat asleep. The storm again begins to rage violently, Towards the sea cliffs’ jagged teeth Fate saved one blow until the last! subsided and returns only at intervals; out at sea and I followed the cries of the drowned. the waves are tossing high. The steersman walks it grows darker. In the distance appears the ship of But ah! That grave was not for me! Steersman (from the deck, calling through cupped round the deck once, and then sits down near the the Flying Dutchman, with blood-red sails and I dared the pirates to subdue me, hands) wheel. He yawns, then rouses himself as he is.) black masts. She quickly nears the shore, over in hope of dying by their swords. Ho! Captain! against the ship of the Norwegian. With a fearful ‘Come, sea wolves, send your fiercest to me! Song crash the anchor plunges into the water. The Daland My treasure here is your reward.’ Steersman springs up out of sleep; without leaving Is all secure on board? Steersman But ah, the ruthless bucaneer Through the rumble and roar of southern storms his place he gives a nasty look a the wheel, and, just crossed himself and fled in fear. Steersman my true love, I am near. satisfied that no harm has been done, he hums the I begged the deep to drag me down, Yes, all is well! The anchor’s holding fast. Over towering seas my ship is borne, beginning of his song.) down to the caverns far beneath:

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Onto the sea cliffs’ jagged teeth the storm and observes the strange ship. (a long silence) If you could give me lodging for one night, among the cries of those who drowned! Daland (looking at the steersman) Dutchman (without changing his position) you won’t regret the friendliness you show; Nowhere a grave! Never to die! 4 Hey! Holla! Steersman! Long have I sailed; would you refuse a stranger with treasure I’ve amassed from every country, This my unholy destiny! anchorage in stormy seas? my ship is heavily laden. Steersman (half rousing himself from sleep) Answer me this, God’s angel up in Heaven, If you’ll barter, then rest assured, All’s well, all’s well! Daland (going ashore) when you decreed the terms for my release, the loss will not be yours. Ah, gentle south wind No, God forbid! We welcome any sailors. was it your joke, this task that I was given, find that shore where my love… Who are you? Daland when there’s no earthly chance of finding peace? I’m lost for words! Can I believe your story? Forget delusions! Never hope again! Daland (shaking him violently) Dutchman Your lucky star has proved a worthless guide. The search for love unending is in vain! Are you sure? A Dutchman. I’d like to help you; tell me what you need… One hope alone preserves my reason, Damn! Wake up and use your eyes! Daland But, may I ask you what your ship contains? one hope is with me first and last: Look, there’s a ship. Have you been sleeping Be our guest! The stormy weather drove you up this earth, renewed with every season, long? Dutchman (gives a sign to the watch on his ship; against this rocky shore? must one day crumble into dust! they bring a chest ashore) Steersman (starting up) I did no better: just a mile or two from here Dread day of Judgement! Free me soon! I’ll show you things beyond your wildest dreams, I must have been! You won’t catch me again! my home is waiting; almost there, When will I hear your mighty crash, sapphires and emeralds, pearls and diamond (He seizes the speaking trumpet and calls through it.) and I was forced to look for shelter. the thunder and the crack of doom rings. Ahoy! Where do you come from? What damage have that pounds the world to dust and ash! (He opens the box.) (A long pause, the echo repeats the call twice.) you suffered? When all the dead rise up again, Look in, you’ll soon convince yourself I’m not Ahoy! and only nothingness remains! Dutchman merely boasting. When all the dead rise up again (A long pause, renewed echo.) My ship’s unharmed. She never suffers damage. This is how your grateful guest will pay you. eternal night shall end my pain! I’ve sailed through ice, through gale, through Daland Daland (looking at the contents of the chest with When worlds and stars are all destroyed, thunder, I think they’re even lazier than you. wonder) then I shall perish in the void! crossing the ocean to and fro What? I’m dreaming! All these riches! for years now, decades without number, Dutchman’s Crew (from the ship’s hold) Steersman (as before) Who could afford the price of such a fortune? Then we shall perish in the void! Ahoy there! Ship and country? I ceased to count them long ago. To north and south my ship was driven, Dutchman (He leans in brooding silence against a rock in the Daland (noticing the Dutchman on land) to ev’ry land from east to west, The price? I’ve told you what the price will be; foreground.) Give up! I see the skipper there, I think! but how I’ve longed for home or haven, all this is yours for just a single night! (calling out to the Dutchman) where I might find true peace and rest! And what you see is just a tiny part No. 3: Scene, Duet and Chorus Hey! Hallo! Captain! I never found the home or haven of all that lies enclosed within the hold. Daland comes out of the cabin; he looks round at Name your ship and country! waiting for me with peace and rest! What’s this to me? I have no wife, I have no child,

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and I have never found a home. take my treasure, it’s useless to me! (aside) Halloho! Yohohey! Halloho! I’ll gladly give you all my wealth Daland Will she fulfill my prayer? Daland if you and yours will offer me your friendly home. Yes, stranger, yes, I have a lovely daughter, Now, as my yearning heart sees Heaven You see, now Fortune takes your side, Daland who loves me as a loyal daughter should. through blinding veils of black despair, the wind has turned. It’s calm at last. What are you saying? She is my pride, the best of my possessions, Can I still hope or am I never to find So weigh the anchor, catch the tide! my constant comfort and my greatest joy. the love that leads me there? And sail for home! The storm is past!. Dutchman Can I still hope or am I never to find Dutchman Do you have a daughter? the love that takes me there? Dutchman The love she has for you will never weaken, Daland Is this my angel, come to find me? If you are willing then why not take the lead? faithful as daughter, faithful, too, as wife. I do, a loving child. Is this my dream to final peace? The wind is brisk, but after many a mile my weary crew must have the rest they need. Dutchman Daland And from the heavy chains that bind me, can I believe I’ve found release? She’ll be my wife! You give me diamonds, pearls and other treasures, Steersman and Sailors (raising the anchor and Ah! All the hopes I had are gone but dearer still than these, a faithful wife. hoisting sail ) Daland (joyful, yet perplexed) and yet new hope still drives me on! What? Is this true? If it’s marriage he means Dutchman Ho, ho, ho! Hallohey! Halloho! You give to me? Daland and seems a serious bidder, Daland if I don’t strike while his appetite’s keen I thank the storm, those powers of Nature Daland Don’t miss the wind! I fear that he’ll reconsider! who drove us here, that I might clasp My word should be enough! Who knows if I’m dreaming or waking, with just one further, timely gesture, I feel for you; you have a generous heart. Dutchman but he seems almost perfect to me. what almost lies within my grasp. It shows me your nobility of soul. It’s set to blow awhile. Such luck comes but once for the taking, My blessings on the wind and water But rich or poor alike My ship is fast, she’ll soon catch up with you. with a happy heart I agree; truly happy! that made him shelter on this shore! you’re still the man that I would choose He seems a serious bidder, A wealthy husband for my daughter, Daland to be my daughter’s husband! he seems quite sincere. a father could not ask for more! All right, you’re sure? Then that is what we’ll do. Yes, a kindly man who’d pay his way Farewell. I hope you’ll meet my child today! Dutchman Dutchman You’re kind! And shall I see the girl today? could have my house and child today! I am alone without child or wife, Dutchman (The storm is quite over and the wind has changed.) I have no ties to bind me. Daland Indeed. Fate drags me on through this wretched life The next fair wind will bring us into port; Steersman (on board ) and torments follow behind me. Then you will see, and if she suits your taste… South wind! South wind! Daland (going on board his ship) My hopes of a home have been buried, ‘Ah, gentle South wind, find that shore!’ Hey! Now the tide has turned our way! this boundless wealth is more than I need. Dutchman Hallo! Hallo! Once I and your daughter are married, She will be mine! Sailors (waving their caps) (He gives a signal on the whistle.)

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Come, lads, prepare to sail! and help him find a homeward wind! Tralara, la la la la la! Her muddled wits have gone astray. Chorus Spin! Spin! Spin! Mary (to Senta) Girls Bonny lasses! Sailors (setting sail ) You lazy thing! if you don’t spin Who’d guess that paint could have such power! Curl, twirl, Through the rumble and roar of southern storms, your love will bring no golden ring! coiling masses! Mary my true love, I am near! Hurrah! Tralara, la la la la la! Girls It makes no diff’rence what I say! Over towering seas my ship is borne, She takes her ease because she can; Come, Senta! Tear yourself away! my true love, I am here! Hurrah! Mary her lover’s not a sailor man. But should the south wind blow no more, Keep working! Husbands tend to favour Instead of gold he brings her food; Girls I’ll never come home to you. a wife who’s used to heavy labour! that’s how a huntsman’s girl is wooed! She does not hear! Love’s deaf and blind! Ay! Ay! Oh, gentle south wind find that shore Ha ha ha ha ! She’d better bear in mind where my love is ever true. Girls that Erik is a fiery lad Ho, ho, ho! Yoloho! Come, Mary, hush! You surely know (They laugh. Senta sings softly to herself.) and jealousy might drive him mad! (The Dutchman boards his ship. The curtain falls.) we’ve other verses still to go! So hush! Or, crazed with jealous pangs Mary he’ll shoot his rival where he hangs! Scene 2 Mary That picture rules her ev’ry mood! A large room in Daland’s house. On the side walls, Then sing! But move the work along. (to Senta) (They laugh.) (to Senta) How long do you intend to languish pictures of sea objects, charts etc. On the back wall Senta (starting up angrily) Speak to me, Senta; why no song? in childish dreams and fantasies? the portrait of a pale man with a dark beard, Be quiet! You’ll make me lose my temper wearing a black Spanish costume. Mary and the Girls Senta (without moving) if you don’t stop this mindless banter! girls are sitting round the fireplace, spinning. Senta, Why did you tell me of his anguish? Whirr and whirl as morning passes Girls (They sing as loudly as possible and spin their leaning back in a large armchair, is absorbed in Why did you tell me who he is? little wheel sing softly as you twirl! wheels with a great clatter so that Senta has no dreamy contemplation of the portrait on the wall. (She sighs.) Spinning threads in coiling masses, chance to chide them.) No. 4: Song, Scene, Ballad and Chorus The wretched man! set the little wheel awhirl! Whirr and whirl as morning passes, Girls In seven years before the mast Mary little wheel sing softly as you twirl! 5 Whirr and whirl as morning passes, my love has earned a chest of gold. God help you, girl! Spinning threads in coiling masses, little wheel sing softly as you twirl! Turn, little wheel, run free and fast set the little wheel awhirl! Spinning threads in coiling masses to win the gold, spin brave and bold! Girls set the little wheel awhirl! Spin! Spin! Aha! Aha! What’s that we heard? Senta My love sails out across the sea, Bonny lasses, She sighs for him hour after hour! Oh, stop that endless droning chorus! he dreams of me he left behind; curl, twirl, It hums and drums inside my ear! turn little wheel, run fast and free coiling masses! Mary If you must positively bore us,

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then sing a song I want to hear! COMPACT DISC TWO Hui! And Satan heard! Yohohey! Girls Hui! And took his word! Yohohey! Fine! Sing yourself! Ballad Hui! And condemned him to sail ever on, without end, without rest! Senta I. Yet, that this wretched man might not Here’s my proposal; Senta (in the big armchair) lose the way to salvation, let Mary sing my favourite ballad. 1 Yohohoey! Heav’n’s angel showed him how he might Mary I see a ship, as black as night, save his soul from damnation: Good God forbid! I must decline! with blood-red sails to trap the breeze. pale captain, pray, pray to God that you’ll find her! That Flying Dutchman, leave him be! Her captain, pale as winter light, Beg Him to make her faithful in life, true unto keeps endless watch on boundless seas! death! Senta Hui! The howling wind! Yohohey! Girls (deeply moved) I’ve heard you sing it many times. Hui! It shrieks aloft! Yohohey! Pale captain, pray, pray to God that you’ll find I’ll sing myself! Listen to me. Hui! Like an arrow the gale her! If there is any pity in you, has no aim, has no end, has no rest! Beg Him to help you! his wretched fate will surely move you! Yet might this pallid wand’rer Girls still save his soul from damnation. III. One woman faithful even to death Go right ahead! Senta (with growing excitement) could be his salvation! At anchor every seventh year Senta How many years will it take you to find her? he seeks a bride to share his life. All of it’s true! Pray God to make her faithful in life, true unto He sought her every seventh year, death! Girls but never found a faithful wife. We’ll take a rest! (Towards the end of the verse Senta turns towards Hui! ‘Unfurl the sails!’ Yohohey! Mary (stays by the fireplace and continues to spin) the picture. The girls listen with interest. Mary has Hui! ‘Cast off the ropes!’ Yohohey! I’ve work to do! stopped spinning.) Hui! Fickle love, fickle vows! II. Sail away, without end, without rest! (The girls move their seats nearer to the armchair, (Senta, exhausted, sinks back into the chair. After a after they have put aside their spinning wheels, and Senta deep pause, the girls go on singing.) group themselves round Senta. Mary remains He sailed due west, against the tide, sitting through stormy waters running free. Girls where she was, and goes on spinning.) ‘I’ll give my soul,’ the captain cried, Where can she be, the one who was chosen for ‘to round the Cape and rule the sea!’ you by Heaven?

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Where will you find one true unto death and Mary (bustling around ) and set me free from all my pain! Senta constant forever? Now look how idle we’ll appear; Or will you tear out my living heart! Ah, let me go! Chosen for you alone, chosen by Heaven. we’ve hardly done a stroke all day! Senta (lingering) Erik Senta (carried away by a sudden inspiration, and Girls What’s real? What now? Do you not see the wounds you gave me? springing up from the chair) No time to waste! Erik Can you ignore a heart in pain? I’ll be the one who by her love will save you! Ah, hear me, Senta, you alone can save me. Mary (calling the girls together) Oh, Senta, say, what’s to become of me? God’s angel hosts will help you find me! Answer my question once again. Stop! And no one leave their place! Your father’s here, before he leaves again Through me then, you shall find salvation! When this, my heart, is torn in two, Now follow my precise directions! he needs to realise one of his ambitions. speak, Senta, will your heart be true? Mary and Girls (jumping up, terrified) Senta God help us! Senta! Senta! Girls Who’ll speak for me, will it be you? I have so many burning questions! What can you mean? Erik (who has come through the door and Senta (despairingly) Mary Erik What! Can you doubt my true affection? overheard Senta’s outcry) He wants you married safely! Senta! Senta! Do you want to kill me? To the kitchen and the cellar first! And question if my love is real? My heart is yours till death divides us; Why must you wallow in affliction? Girls Girls my worldly goods, my steady hand, Or is this jealousy you feel? Help, Erik, help! She’s lost her senses! That I must ask before I burst! what wealth my hunter’s skill provides us; Erik Mary these would not suit your father’s plan! Mary Your father sees the riches you will gain. My blood runs cold to hear this madness! Then, if my heart is torn in two, And hold your tongues, that’s my suggestion; And, Senta, you, how could I ever trust you? Destroy that wretched picture now. speak, Senta, will your heart be true? Till they’ve had food and quenched their thirst! When all my prayers have gone without an answer, Wait till her father’s in the house. Senta I think you’d better feed them first! day after day, my heart is torn. Ah! Erik, that’s enough! Erik (sadly) Girls Father is here, he’ll count on me to meet him. Senta Her father’s here. All right! We’ll see to their digestion, He won’t forgive a duty not fulfilled, Your heart? but pleasure’s last and duty’s first! Senta (who has remained still and absorbed, if I’m not there to greet him. springs up as if awaking) (Mary drives the girls out and follows them.) Erik Erik You know the reason… It’s that face! My father’s here? You leave me now? No. 5: Duet Erik Senta Senta I saw his ship across the bay. (Senta also wants to leave but Erik restrains her.) He’s there, I know. That face? Girls (joyfully) Erik Erik Erik They’re home at last! They’re home at last! 2 Stay, Senta! Stay awhile and talk with me; Is this the end? Will you forget this childish dream of love?

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Senta My nightmare… Hear what the warning says… then threw himself upon the stranger gaze turns from the picture to him, and she gives a Can I prevent sympathy and compassion? (Senta sinks exhausted into the armchair. When and saw you on your knees before him… violent cry of surprise, after which she remains Erik begins his story she appears to fall into a transfixed without taking her eyes off him.) Erik Senta (in increasing excitement) magnetic trance so that she seems to dream the Ha! You sang the ballad once again today! He took my hand… dream Erik relates to her. He stands by the chair. Senta In a subdued voice.) Erik No. 6: Aria, Duet and Trio I am a child. I don’t know what I’m singing! Upon the cliff I lay there dreaming Closer you came; The Dutchman walks slowly forward, his eyes fixed But wait… What? Do you fear a song? A face? watching the breakers swell below. until, your lips pressed on his lips, on Senta, and stops. Daland waits at the door, The rocks destroyed them, dark and gleaming you kiss’d, with one desire aflame… expecting Senta to come to him. Erik in noisy clouds of salty foam. Daland (gradually approaching Senta) You are so pale, speak; are my fears all groundless? I saw a ship across the water, Senta 3 My child, your father’s on the threshold; Senta forbidding, foreign, black as night. And then? what, not a greeting, not a kiss? Should such a tragic destiny not move me? Your father came to meet his daughter, Erik (watching her with uneasy amazement) You’ve taken root! Now what’s the matter? but not alone, for at his side… Erik You left to join his ship. I’m owed a little more than this! My suff’ring, Senta, does not move you too? Senta (her eyes closed) Senta (rapidly awakening and in the highest Senta (grasps Daland’s hand, as he reaches her) Another? excitement) Senta You’re welcome home! He called my name! I heard his voice! Ah, face the truth! What is your pain to his? Erik (pulling him closer to her) I’ll die for him, that is my choice! You know the story of that wretched man. Not unknown, I fear, But who is this? Who is the stranger? (She leads Erik close to the picture and points at it.) the ashen face, the sombre clothes… Erik Do you feel the pain, the weight of grief, Daland (smiling) Senta (as before) I knew it! All is revealed! that calls to me, if not to you? My love is lost! The dream was real! Patience child. Think how his torment has known no relief. The brooding eyes…… Aria How could my heart not suffer too? Erik (pointing to the picture) (He rushes away, full of horror and despair. After Your captain here! her passionate outburst, Senta falls back into Daland Erik contemplation of the picture.) Alas! It brings back my ill-omened dream! 4 Senta, my child, extend a welcome to this stranger: Senta fresh from the cruel sea, I bring him as a guest. God keep you safe! Satan has set a trap! And l? Senta (softly, but deeply moved) Pale captain, pray, pray to God that you’ll find Sailing in search of wealth on journies fraught Senta Erik her! with danger, What is frightening you? You came towards them both, Beg Him to make her faithful in life, true unto… success rewards him, and his credit’s of the best. Erik and ran at once to greet your father. (The door opens and the Dutchman and Daland But banished from his home forever, Senta, this is my dream… But even as you kissed, you saw him appear. The Dutchman enters immediately; Senta’s he’ll pay us well if you’ll be kind.

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So, Senta, come now, tell me, truly, and then turns to the latter.) is this the hour that sets me free? (enraptured) were he to live here would you mind? He is the one; you’ll not find better! Here stands a man whose face is lined with You are an angel, bringing consolation (to the Dutchman) Make this a choice you won’t regret! sorrow. that makes the fettered spirit free! Well, were her virtues as I stated? (to the Dutchman) His silent grief speaks softly to my heart. If one must come whose life is my salvation, Just say the word, she’s in your hands. Speak to her now… alone together. Can he be real, or will I wake tomorrow? Almighty God, let this be she! Her worth could not be overrated; Trust me, she’s yours and true till death! He who was in my dreams is here with me. Senta confess, she’s perfect as she stands! This burning pain that stirs such ardent passion, (He leaves the room slowly, curious to see whether If one must come, whose life is his salvation, (The Dutchman makes an affirmative gesture. what can I call it, rapture or compassion? they will approach one another. He finally goes out Almighty God, let it be me! Daland returns to Senta.) Your heart is longing for its last release. in vexed astonishment.) Senta, my child, I think that you could grow to I hope that I may bring your soul to peace. Dutchman like him; Duet Ah! If you knew the fate that’s waiting he’s asked me for your hand, and will not be The Dutchman and Senta are alone. They remain Dutchman (approaching Senta) should you commit yourself to me, denied. transfixed, gazing at one another. Your father’s wish should be respected. and if you knew the price you’re paying Give him your heart and make a new life here What he proposed, you won’t reject it? and what the sacrifice will be. Dutchman (deeply moved) beside him. Could you be mine, and mine alone, forever, Your soul would tremble if I told you 5 As from the distant dawn of my creation, Take my advice, say ‘yes’ and soon you’ll be his give me your hand, a stranger though I be? the sentence Fate would have in store this lovely face calls out to me. bride! From endless pain, from all-consuming fever, if such a promise could not hold you, All through the years of endless subjugation (Senta makes a quick and painful movement but your constant love at last could set me free? if you renounce the vows you swore! I’ve dreamed of her and now I see. retains her composed demeanour. Daland produces Senta some jewels and shows them to Senta.) In my despair this wondrous image haunts me Senta from deepest night, I see a light above: I’m sure of this; whatever Fate has bound you, I know the weight of obligation. Look at these jewels, don’t you adore them! whatever name you bear or what you do, Each smallest pearl fit for a king. by Satan’s wish my heart still beats and taunts me, Calm all your fears, I shall defy racked by the pain of never knowing love. my chosen course is clear, now I have found you; Destiny’s will and my damnation. Think what you’d feel like if you wore them! be true to you and to my father too! They’re yours if you will take his ring! A smould’ring heat that smothers and entombs That cannot frighten such as I! (Senta keeps her gaze fixed on the Dutchman and me Dutchman (moved) What little I may have of virtue does not look at Daland; neither does the makes me believe at last that love consumes me. Such simple trust! Your innocence has told you knows what it means to keep my faith. Dutchman listen, but is lost in contemplation of Ah, no! This yearning is for my release; how deep the anguish of my endless night! If I were yours, I could not hurt you; the could this enchanting angel bring me peace? I’d love you unto death! Senta (aside) girl. Daland, noticing this, glances at them both.) Senta Such desp’rate anguish! Let my love console you! Dutchman (with emotion) What? Both struck dumb! I think I’m in the way! Am I submerged within some bright illusion? A healing balm that soothes my fever, I see! I’ll leave him here to have his say. Is this a vision which I see? Dutchman (having heard Senta’s exclamation) her words drop coolly on my brow. (He looks searchingly at the Dutchman and Senta, Until today my life has been delusion; Sweet voice that changes darkness into light! Hear this! My soul is free forever!

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Powers of Heaven! Senta, my child, will you give your consent? Fearing neither storm nor rocky shore We ought to serve your neighbours first. You must accept me now! Senta (with solemn determination) we prefer to pass the time away Steersman Hear this, immortals! Freely this hand I give to you, with a pretty girl in ev’ry port, Of course! You’re right; we’ve obligations! You must accept me now! I shall remain forever true. smoking half the night and drinking all the day! They must be dropping dead of thirst. Ill-fated star, no longer guide me! Hussassa hey! Dutchman Sailors Hope in my darkness shine anew! Shipwreck and storm, Halloho hey! She gives her hand, I’ll conquer you, They can’t be seen. Bright angels, you who once denied me, Treat them with scorn! Hussassa hey! vile pow’rs of Hell, if she be true! strengthen her heart and keep it true! Furl the sails! Anchor fast! Steersman Daland Rock and storm, laugh them to scorn! They’re silent too! No lights and no vestige of a Senta This match will suit both her and you. Steersman, leave your watch! crew! I’ll battle even till I perish Let’s feast! We will be happy too! Steersman, join your friends! to free him from the Devil’s grasp. Ho! Hey! Hey! Ha! Girls (about to go aboard the Dutchman’s ship) (They leave, the curtain falls.) Here is a home that he may cherish. Steersman hey! Drink with us! Ho! Sailors! Hey! We’ll lend you light. Here he may lay his head at last! Rock and storm, hey! Where have you gone? Don’t waste the night! Scene 3 Here he may rest his head at last. Never fear, hey! Sailors (laughing) A bay with rocky shores. In the foreground, to one What is this strength whose virtues fire me? Come and drink with us! Don’t wake them up! They’ve turned them out! What is this magic locked here inside? side, is Daland’s house; in the background, near Almighty God, your love will inspire me, together, are the ships of Daland and the (They dance on the deck marking each measure Girls (going close to the water and calling to you will be with me as my guide! Dutchman. The night is clear. The Norwegian ship with loud stamps of their feet. The girls come out of the crew of the Dutchman’s ship) Let your selfless love inspire me, is lit up, and the sailors are on deck, feasting and the house carrying baskets of food and drink.) Ho! Sailors! Hey! Give us a shout! you will be with me as my guide, singing. The Dutchman’s ship presents a strange (A deep silence.) you’ll be at my side, my constant guide! contrast; an unnatural darkness broods over it, and Girls a death-like silence reigns. Come, take a look! How well they dance! Sailors (mocking, with affected sorrow) Trio It looks like we girls won’t stand a chance! Introduction Ha ha! Most likely they are dead; Daland (enters) they have no need of wine or bread! No. 7: Chorus and Ensemble (They go towards the Dutchman’s ship.) 6 My crew are bored with this delay; They don’t need food or drink! our late arrival earns a drink at least. Norwegian Sailors (aboard their ship) Sailors Girls (calling to the Dutchman’s ship) 7 To make it special, can we celebrate Steersman, leave your watch! Ho! Ladies, stop! You’re just in time! Ay, Sailors, just answer, we’ll leave you in peace; your happy union later at the feast? Steersman, join your friends! or are you too proud to join us in our feast? (to the Dutchman) Ho! Hey! Yay! Ha! Girls I think you’ve wooed her to your heart’s content. Haul the canvas in, anchor fast, How would you like to try some wine? Sailors (as before) (to Senta) Steersman, hey! But don’t your friends need invitations? They hide below, within the hold

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like dragons watching over their gold. we would not welcome phantom guests! What! Won’t you come and join the fun? we have had to drink the salty brine; Girls Sailors Girls then we dream of nights upon the shore, Hey! Sailors, you’re welcome to food and to wine. For how many years have you been under sail? Not right away! We may later on! kisses from a lass and good Madeira wine! Surely you’re thirsty and will not decline! Immune to the dangers of shipwreck and gale? Don’t wait for us. Start on the booze! Hussassahey! Shipwreck and storm Dance if you want to, you know best, Yololohay! Treat them with scorn! Sailors Girls just don’t disturb your neighbours’ rest! Hussassahey! Furl the sails! Anchor fast! They won’t sing songs or drink a jar; They won’t sing songs or drink a jar, Let them rest! Rock and storm, laugh them to scorn! their lightless decks are black as tar. their lightless decks are black as tar. Steersman! Leave your watch! (They leave.) Girls Sailors Steersman, join your friends! Though you have no sweetheart to keep you away If you have a letter for someone on land, Sailors (emptying the baskets) Ho, hey, hey! Ha! if you come and dance you may find one today! we will see that it reaches great grandfather’s hand! Juch hey! The wine is flowing! Steersman, come! Good neighbours, thanks to you! Drink with us! Sailors Girls Ho! Hey! Hey! Ha! Ho! Their hair is grey, their cheeks are wan, Their hair is grey, their cheeks are wan, Steersman Come and drink with us! and all their sweethearts dead and gone! and all their sweethearts dead and gone! We’ll really get the party going! (The sea, whilst remaining calm everywhere else, Girls (calling ever louder and more anxiously) Now each man has enough for two! Sailors (noisily) begins to seethe around the Dutchman’s ship; a Hey! Sailors! Sailors! Come ashore! Hey! Sailors, hoist all of your canvas on high, Sailors dark We’ll eat, drink and sing then drink some more! let’s see how the mythical Dutchman can fly! Hallohohoho! blue flame flares up as a watch fire. A fierce storm All Dear friends, there’s time to change your mind; wind blows through the rigging; the crew, who had Sailors! Sailors! Girls (moving fearfully away from the speak up, and come and share the wine! previously been unseen, seem to be raised to life by Come ashore! Come ashore! Dutchman’s ship) (From now on, there is movement on the the light of the flame.) They don’t respond! Fear makes us shake! Dutchman’s ship.) (Long silence.) We’ve called enough for Heaven’s sake! Show a leg! Show a leg! Dutchman’s Crew Girls (astonished and afraid) Come! Join us here! Yo ho hoey! Yo ho hoey! Hoey! Hoey! Hoey! Sailors Most likely, yes! They must be dead! (They drink and clank their mugs.) Huissa! Let the storm drive us home. Then let them drink a toast with death! They have no need of wine or bread. Hussa! Huissa! Reef the sails, anchor down! You drink with us who still draw breath! Steersman, leave your watch! Huissa! Hurry into the bay! Sailors (with increasing high spirits) Steersman, join your friends! Sombre captain, scour the land You’ve heard of the Flying Dutchman’s crew; Girls (handing their baskets to the sailors over Ho! Hey! Hey! Ha! now that seven years have passed. That must be their ship and its company too! the side of the ship) All yours! Your neighbours still refuse! Haul the canvas in! Anchor fast! Seek a blonde-haired maiden’s hand, Girls (as before) Steersman, hey! who’ll be yours and yours alone! For God’s sake, leave the men to rest; Steersman and Sailors Often in the savage tempest’s roar Hey for the bride! Hey for the groom!

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Storms for the bridal march, Satan made them good and strong, Senta (in a turmoil) Think how we sat, your hand against my cheek. waves dance a wedding dance! they will last for ages long. Don’t press me! Stop! I must! I must! You gave your heart, I trusted it was true, Hui! Hear it call! (The Norwegian sailors are silenced by the storm Erik I understood, you had no need to speak, How it wails! Come back aboard! and the ever louder and wilder song of the ghostly Oh, blind obedience leads you blindly on! with your caress that you pledged your love anew. Hui! Set the sails! crew. They leave their deck, terrified, making the Your loving father hardly had to force you! With your caress it seemed you pledged your And your bride, where is your bride? sign of the cross, which is greeted with loud laughs A single blow destroys my trusting heart! love anew. Hui! Set a course! of scorn. The deathly stillness returns to the Although you did not speak, Senta (as before) Journey on till you find a more fortunate tide! Dutchman’s ship immediately, and it is shrouded in I thought I knew your heart; Enough! Enough! We’ll never meet again. Hahaha! Storm clouds, blow your fiercest gales! darkness. The sky and sea become calm again.) was that caress not a promise I must forget you; You will not destroy our sails! that you pledged your love anew? higher duty calls! Satan made them good and strong; No. 8: Duet, Cavatina and Finale Finale they will last for ages long! Senta hurries out of the house, followed by Erik, Erik who is greatly agitated. What higher call? How could you break your Dutchman (has overheard the previous scene (During the Dutch crew’s song, their ship is tossed promise and now rushes forward in wild and terrifying Erik to and fro on raging waves; a furious gale howls to trust me and to love me, now and forever? excitement) and whistles through the bare rigging. Elsewhere, 8 What is this madness? God, what do I see? 10 It’s hopeless! Ah! It’s hopeless! Deception? Falsehood? Or the truth? Senta (greatly shocked) the sky and sea remain as calm as before.) Never shall I be saved! What! Did I promise love for evermore? Senta (turning away, painfully moved) Norwegian Sailors (having listened, first Erik (stepping back, dismayed) Don’t ask me this! Erik (sorrowfully) with amazement, then with horror) What is this? God! What a song! Are they ghosts? I’m afraid! I dare not answer your questions! Senta! O Senta, don’t turn away! We must sing! Do your best! Make it strong! Erik Cavatina Dutchman Steersman, leave your watch! Almighty God! I’m certain it is true! Senta, farewell! Steersman, join your friends! What diabolic pow’r brought you to this? Erik 9 Senta (barring his way) Ho! Hey! Hey! Ha! Could you forget those carefree happy hours; What kind of force corrupted you, Don’t go! Poor wand’rer Make it strong! what kind of force could drag you down so low? you called my name, I answered from the hill. Fearing neither storm nor rocky shore Low enough to tear my faithful heart in two! Down from the peaks I brought you mountain Erik (to Senta) Make it strong! Louder! Your father, ha, he’s brought your bridegroom here; flowers, What is happ’ning? I knew his mind, I guessed what he had planned! far from your touch, their scent is with me still. Dutchman’s Crew But you, how could you… Remember standing on the cliff together, Dutchman Huissa! Yohohoey! Yohohoey! offered him your hand! to watch your father setting out to sea? To sea! To sea! To sea I’ll sail forever! Storm clouds blow your fiercest gales! A man whom you had known for just a day! Sails in the wind, like drifting snow-white feathers, (to Senta) You will not destroy our sails! he sped away, far away, entrusting you to me. You can forget the vows you swore.

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You can forget them, I am lost! Come here! Come here! Escape from Satan’s jaws! (At Erik’s cry for help, Daland, Mary, the girls Farewell, no, I will not destroy you! She cannot see his hungry claws! from Daland Erik Dutchman the house, and the sailors from the ship, run on.) What is happ’ning? God! He’s raving! He’s insane! Now learn the dreadful truth, the fate you have Erik been spared! She’s lost! Can no one save her? Mary, Girls and Sailors Senta (throwing herself in front of the Dutchman) I am condemned to bear the curse of Satan, What is happ’ning? Stay here, and never go to sea again! I long to die, to close this living hell! Dutchman (to Senta) A woman’s love alone can end my suff’ring, Dutchman (gives a shrill blast on his whistle You do not know the truth of who I am! a love that’s true and faithful unto death. and shouts to his crew) (He points to his ship, whose blood-red sails are You may have sworn eternal love, Set the sails! Loose the ropes! being set, and whose crew, with ghost-like activity, but not before almighty God! Anchors away, we leave the land forever! are preparing for departure.) You’re safe and free! Hoist the sail! But ask the waves of ev’ry ocean, You’re free, but hear what terror lies in wait Once more to sea, outcast I’m driven. ask any sailor, he will tell you of my fame: for whose who break their promise to be Betrayed by God! I am despised! when I appear his fearful heart is frozen; faithful: Your broken vows, so lightly given, the Flying Dutchman is my name! endless damnation, endless night! nothing but worthless, shallow lies! Numberless victims met this cursed end through Nothing but vile and empty lies! Dutchman’s Crew me! Love that you promised, worthless lies! Yohohoey! Yohoey! Hoey! You, Senta, have escaped their doom. Farewell! No hope! No faith! All is now lost! (turning to go) (The Dutchman, with the speed of lightning, Senta Farewell! All hope is lost, for evermore! boards his ship, which instantly heads out to sea. Ah, do you think my trust has faltered? Senta tries to follow him but is held back by Erik (calling in wild anxiety to the house and the Daland, Erik and Mary.) What have you seen, what have you heard? Norwegian ship) Stay here! My promise has not altered! She needs us! Help her, rescue her! Daland, Mary, Erik, Girls and Sailors I could not break my solemn word! Senta, Senta, what can you mean? Poor wand’rer, what have you seen, what have Senta (holding the Dutchman back) you heard? I know you well, know you and know your fate; Senta (She frees herself with the strength of anger when first we met, I’d seen your face before! Erik Your suff’rring has reached its end! What is this? God! What are they doing? My love, my love alone will bring your soul’s She cannot see, he has her in his claws! release! Senta! Do not embrace your ruin!

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CHAN 3045(4) CHAN 3054(3) Opera inEnglish onChandos

CHAN 3060(5) CHAN 3038(4) Opera inEnglish onChandos

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The Opera in English series: CHAN 3057(3) Mozart: Don Giovanni CHAN 3011(2) Donizetti: Don Pasquale CHAN 3103(2) Mozart: Idomeneo CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3022 Strauss: Der Rosenkavalier (The Knight CHAN 3017(2) Donizetti: Mary Stuart of the Rose, highlights) CHAN 3073 Janet Baker sings scenes from Mary Stuart CHAN 3054(3) Wagner: The Rhinegold CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3038(4) Wagner: The Valkyrie Company) CHAN 3045(4) Wagner: Siegfried CHAN 3004 Mascagni: Cavalleria rusricana (Rustic CHAN 3060(5) Wagner: Twilight of the Gods Chivalry) CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3101(2) Janácˇek: The Cunning Little Vixen CHAN 3008(2) Puccini: La bohème CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3070(2) Puccini: Madam Butterfly CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3000(2) Puccini: Tosca CHAN 3007 Mussorgsky: Boris Godunov (highlights) Artistic consultant to the Peter Moores Foundation: Patric Schmid CHAN 3066 Jane Eaglen sings Tosca CHAN 3042(2) Tchaikovsky: Eugene Onegin Vocal and language consultant: Ludmilla Andrew CHAN 3086(2) Puccini: Turandot Staging director: Charles Kilpatrick CHAN 3025(2) Rossini: The Barber of Seville Great Operatic Arias Translation research: Henrietta Bredin CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3096 Elizabeth Futral CHAN 3074(2) Verdi: Aida CHAN 3035 Yvonne Kenny CHAN 3052(2) Verdi: Ernani CHAN 3099 Yvonne Kenny 2 Recording producer Brian Couzens CHAN 3079(2) Verdi: Falstaff CHAN 3049 Della Jones Sound engineer Ralph Couzens CHAN 3116(2) Verdi: A Masked Ball CHAN 3010 Diana Montague Assistant engineer & editor Michael Common CHAN 3068(2) Verdi: Otello CHAN 3093 Diana Montague 2 Operas administrator Sue Shortridge CHAN 3030(2) Verdi: Rigoletto CHAN 3112 Barry Banks CHAN 3023(2) Verdi: La traviata CHAN 3006 Bruce Ford Recording venue Blackheath Halls, London; 6–11 January 2004 CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3100 Bruce Ford 2 Front cover Photograph of John Tomlinson by Robert Workman CHAN 3067 A Verdi Celebration CHAN 3088 Bruce Ford sings Viennese Operetta Back cover Photograph of David Parry by Bill Cooper CHAN 3091(2) Bizet: Carmen CHAN 3013 Dennis O’Neill Design Sean Coleman CHAN 3014(3) Gounod: Faust CHAN 3105 Dennis O’Neill 2 CHAN 3089(2) Gounod: Faust (abridged) CHAN 3085 Alan Opie Booklet typeset by Dave Partridge CHAN 3033(2) Massenet: Werther CHAN 3077 Andrew Shore Booklet editor Kara Reed CHAN 3094(2) Berg: Wozzeck CHAN 3032 Alastair Miles p 2004 Chandos Records Ltd CHAN 3019(2) Handel: Julius Caesar CHAN 3044 John Tomlinson c 2004 Chandos Records Ltd CHAN 3072 Janet Baker sings scenes from Julius Caesar CHAN 3076 John Tomlinson 2 CHAN 3081(2) Mozart: The Abduction from the Seraglio CHAN 3078 Baroque Celebration Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK Printed in the EU

102 103 SOLOISTS/LONDON PHILHARMONIC ORCHESTRA/ PARRYCHAN 3119(2) , TT 64:36 bass bass TT 77:27 Printed in the EU tenor tenor CHAN 3119(2) soprano LC 7038 DDD TT 142:03 COMPACT DISC ONE Recorded in 24-bit/96kHz Recorded COMPACT DISC TWO mezzo-soprano Peter Wedd Peter Kim Begley Eric Halfvarson Eric 2-disc set John Tomlinson John Nina Stemme Nina Patricia Bardon Patricia DIGITAL Aus den Memoiren des Herren von Schnabelewopski von des Herren den Memoiren Aus England • CHANDOS Essex • 2004 Chandos Records Ltd (1813–1883) c ...... Colchester • ...... , a Norwegian sailor...... , a Norwegian , his daughter ...... , Senta’s nurse...... , Senta’s , a huntsman...... 2004 Chandos Records Ltd The Flying Dutchman The Flying p Geoffrey Mitchell Choir Mitchell Geoffrey Orchestra London Philharmonic Parry David Romantic opera in one act Romantic after Heine’s the composer by Libretto Richard Wagner Wagner Richard English translation by Christopher Cowell translation by English Daland Chandos Records Ltd Ltd Chandos Records Senta Erik Mary Steersman Daland’s The Dutchman

WAGNER: THE FLYING DUTCHMAN CHANDOS CHAN 3119 INLAY BACK.qxd 20/9/06 11:58 am Page 1 20/9/06 11:58 INLAY BACK.qxd CHAN 3119