In 1839, when Richard Wagner (1813-1883) was 26 years old, he found himself up to his neck in debt. He was a conductor at a theater company in Riga (which, at the time, was part of Russia), but he couldn’t come up with the money to pay his extravagant bills. He tried to escape from his creditors by boarding a ship bound for London and then Paris, which turned into a terrifying storm-tossed journey.
A Haunting Masterpiece
Wagner later claimed that “The Flying Dutchman” was the end of his career as a mere conductor and his start as a composer of operas. Indeed, with his use of leitmotifs, which are musical themes that are associated with a specific character, object, or emotion, “The Flying Dutchman” is considered to be Wagner’s first masterpiece. While the German composer went on to write even more beguiling operas, such as “Das Rheingold,” “Siegfried,” “Die Walkure“ (”The Valkyrie"), “Tristan und Isolde,” the engaging thing about the Dutchman opera is that it has an uncomplicated plot, which makes it easy to follow.A Grand Production
Now in a searing revival, “The Flying Dutchman” arrives with flying colors at the Lyric Opera of Chicago. Last presented at the Lyric two decades ago, it is now directed by Christopher Alden who crafts the production with powerful imagery, which is enhanced by Anne Militello’s shadowy lighting design aboard the ship with a blood red palette for the doomed crew in the ship’s hold. One gets the feeling that the vessel is moving because of set designer Allen Moyer’s innovative giant ship that is slanted as though riding on the waves of a furious sea.Futhermore, Wagner’s exhilarating musical score is given an exquisite and thunderous expression by music director Enrique Mazzola, which sets the stage for wonderful ensemble performances. As the Dutchman, Tomasz Konieczny’s rich bass-baritone and his lumbering movements convey the dread of a doomed man imprisoned on sea. He delivers such fiery intensity as he hits some wonderful high notes that the audience couldn’t help but applaud him many times over.
Bass Mika Kares plays Daland, a greedy ship captain, who offers to trade his daughter to the Dutchman for jewels and gold. The bartering for the daughter, although politically incorrect for modern audiences, is treated with humor, especially since she’s all in favor of the trade.
Indeed, unbeknown to Daland, his daughter Senta, portrayed by golden-voiced soprano Tamara Wilson, is already obsessed with the Dutchman, whose picture she carries around with her from room to room. In the most spellbinding moment in the opera, Mr. Konieczny and Ms. Wilson come together in a lush and lovely duet that is the highlight of the production.
Others in the ensemble also contribute to the compelling performances. Tenor Ryan Capozzo is convincing as the Steersman who tries to warn Daland not to be taken in by the gold that the Dutchman offers him, and he is the only one who seems independent of the Dutchman’s influence. In addition, tenor Robert Watson delivers a nice turn as Erik the Huntsman, who was planning to marry Senta but is deterred by her hypnotic desire for the doomed sailor.
In addition, the Lyric chorus, headed by chorus director Michael Black, is also in top form, demonstrated by a chorus of local girls harmoniously singing as they spin their cloth-making wheels.
The story of “The Flying Dutchman” has been adapted many times in various incarnations for television and film. One of those was the 1951 film “Pandora and the Flying Dutchman,” which starred James Mason and Ava Gardner. Yet, of all the versions of the legend, Wagner’s opera of “The Flying Dutchman,” with its intoxicating musical score, is still the best.
