Romantic opera in three acts
Music and libretto by Richard Wagner (1813-1883)
Premiere: Dresden, Königliches Hoftheater, 2 january 1843
The common threads that run through our season are first spun on this night: mythology, trancelike dreams, and the female power. In Wagner’s opera, the ancient myth about a haunted seafarer seems like the projection of a vivid mind. In order to sail round the Cape of Good Hope, a Dutch mariner once cursed God and the forces of nature. For this, he was condemned to roam the seas, disembarking every seven years until he found a bride who remained faithful until her (!) death.
Senta, a rather overstrung Norwegian girl, and her friends sit at the spinning wheel. Although betrothed to the hunter Erik, her fancy is roused by a painting of a mysterious man. Her father returns from a voyage with a haggard guest, whom she identifies as the object of her dreams. When the two declare their mutual love, Erik storms in. The foreign sailor reveals himself as the Flying Dutchman, once more betrayed. To save him, Senta thrusts herself off a nearby cliff.
The music in Wagner’s early opera depicts the force of nature as romantically as the languor of love. But he also introduces a major subject of his later works: Men may sin, Women must redeem…
ORCHESTRE PHILHARMONIQUE DE MONTE-CARLO
What are the highlights of your role in Der fliegende Holländer?
To begin with, this is the shortest of Wagner’s operas, yet it remains one of the most dramatic. Each scene unfolds with gripping intensity, offering profound emotional depth and some truly weird and wonderful effects. Portraying the otherworldly, wandering Dutchman presents both a unique challenge and a strange sense of peace. The role lulls you into a false sense of security, all while the stormy orchestral accompaniment rages beneath, reflecting the character’s inner turmoil.
And what are the challenges?
Without a doubt, the greatest challenges lie in the Dutchman’s opening monologue and the duet with Senta, the young woman who sacrifices herself for his salvation. “Die Frist ist um” is arguably the most dramatic twelve minutes a bass-baritone will encounter on the Wagnerian stage — a raging monologue that vividly sets the scene for his quest for redemption through the love of a faithful woman. Then there’s the duet with Senta, which is as thrilling as it is dizzying. It’s passionate, melancholic, poetic, and deeply dramatic. Performing it feels like walking a tightrope — it can truly make or break you.
Our 2025/26 season focuses on three themes: Myths, Dreams, and Female Power. How do these motifs appear in Der fliegende Holländer?
Der fliegende Holländer is the epitome of myth and dream intertwined with the power of a faithful woman’s love. The Dutchman himself is a mythical figure, cursed to wander the seas until redeemed by unwavering devotion. Senta represents that dream of salvation, embodying both female power and sacrifice.
And how do they resonate with Sir Bryn Terfel?
These motifs run deep in Wagner’s work and resonate personally. The opera reflects not only mythical storytelling but also Wagner’s own tumultuous life during its composition — fleeing creditors, surviving a nightmare sea voyage, and enduring personal tragedy, like his wife Minna’s miscarriage. These hardships seep into the opera’s emotional core. Wagner’s focus on inner character struggles and the development of leitmotifs — musical phrases that represent characters — adds layers to these themes. For me, these motifs are central to opera as a whole. Opera is about magnifying human emotion, whether through myth, dreams, or the strength of women, and Wagner’s work brings these elements to life in profound ways.