Opera Reviews
29 March 2024
Untitled Document

Stormy seas, but not as Wagner intended



by Craig A.P. Hamilton
Wagner: Der Fliegende Holländer
Munich Opera Festival
19 July 2016

Peter Konwitschny, a director much loved by German audiences, clearly has put a great deal of thought into his concept for Der Fliegende Holländer, revived here at the Munich Opera Festival.

It starts off traditionally enough - the Dutchman in period attire with a backdrop of a stormy sea, an almost understated dare that it is not to last. Out then comes the beach chairs for the tête-à-tête with Daland (Matti Salminen) who not only sounds the well and truly tired wayfaring sailor, but acted his part well with mischievous glee, capitalising on the opportunity of achieving untold wealth.

Act II opens to a women's spinning session. Some riders putting those from the Tour de France to shame whilst others whom I could well relate to were clearly making no effort at all or were in desperate need of emergency services. Mary (Okka von der Damerau) tries to motivate the merry band of riders while offering a refreshment of water. In walks Erik (Wookyung Kim), dressed in a bathrobe from either just having had a shower or being in the sauna, to once again try to convince Senta (Catherine Naglestad) of his undying love, while she meanwhile pines looking at the portrait of the Dutchman. As a friend once said "Who said Wagner was not meant to be funny?" and it is this I am assuming was Konwitschny's goal here, perhaps trying to offer new insights or deeper understanding. Fail!

Act III takes place in a sort of tavern on the one side with street lights on the other, and in the distance the stormy sea backdrop. A mix of time periods it seems. To end it all Senta with much theatrical gusto tears off her tattered cobwebbed, moth-eaten gown, given to her by the Dutchman (Johan Reuter), takes a keg of gunpowder which she lights and blows us all to kingdom come. What remains on stage are the ghostly figures of the cast with the remaining last few bars of music being played as recorded far away through speakers.

Although the artists showed moments of brilliance and what they were truly capable of, they were few and far between. Reuter may have very much looked the part of the Norwegian sailor, but his singing did not captivate me or his stage presence did not convince me of him owning the role. The female leads both had strong and powerful voices though I found they lacked nuance and colour, perhaps a consequence of the countless array of sonic possibilities on offer by the conductor.

Without labouring the point, suffice to say it is interesting to note that not one General Music Director of the Bavarian State Opera has ever conducted this production in the house. Asher Fisch was in charge on this occasion, and his indifferent performance was roundly booed by the audience.

There would be too many if's needed to redeem this production to make me want to see it again. A voice of the minority it seems, as only the Bavarian audience can, they were wildly enthusiastic in their applause, particularly towards the singers.

Text © Craig A.P. Hamilton
Photo ©Wilfried Hösl
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