The Flying Dutchman

Der fliegende Holländer (1843)

I am not sure why some listeners have been intimidated from listening to Richard Wagner's work. While at Northeastern Beachfront Professional College I was scolded by an otherwise supportive faculty member for even considering a course on the Ring Cycle and she was a self-described opera lover. She said it was too "orchestral," whatever that means. I wonder if that was code for "too German"; I seem to recall some Puccini in the background during this conversation and he used an orchestra too. William Berger called his book "Wagner without Fear." I certainly commend his sentiment but I am still baffled at why people were fearful in the first place. I have always found his work accessible, exhilarating and refreshing, not matter how many times I worked through his works while commuting to Northeastern Beachfront Professional College. It certainly never made me cower, hide under my bed, or piss myself.

Der fliegende Holländer was the first Wagner opera I purchased. I had already been exposed to the Ring Cycle and had completed my study of it when I began my work on maritime history. I looking into Der fliegende Holländer with the belief that I might find something pithy to include in my writing.

The tale is simple enough. The Dutchman and his crew is condemned to wander the sea until he can be redeemed by the love of a women. The catch is that he can only come to land every seven years. Conveniently for our bladders that moment is about when the opera starts, which is why this particular music drama can be performed in less than four hours. Thankfully, for the Dutchman, Senta has already heard of him and has a bit of a crush. She also happens to be the daughter of the captain of a merchant vessel that just bumped into the Dutchman and his crew. Senta and the Dutchman get together at the end of the second act. This annoys her old beau, Erik, who scorns her for pledging herself to this strange (and probably quite ripe sailor). The Dutchman leaves shattered but Senta proves her love for the Dutchman through suicide. Up to heaven the Dutchman and his crew go. Actually not so different from the last two "Pirates" movies, although I still suggest the opera even though it lacks pirates (who I will blog about in the future).

When Wagner composed this he had not yet developed his complete vision for opera and there are still many old habits derived from operatic convention. Nevertheless, Der fliegende Holländer is immediately recognizable as unique. Each of Wagner's works is unique with a unique sound. Here are some of the highlights. Although I would not recommend listening to highlights of Wagner. Posting the entire opera really does not work in this medium.

The Prelude
http://www.youtube.com/watch?v=HqezCR_XzaI

Leitmotivs are obviously here already. All of these sounds will be repeated through out the work.

Senta's Ballad -- When she tells the story of the Dutchman
http://www.youtube.com/watch?v=6qSsfn3rE6M

The main point I want to make about Wagner in this series of blog entries is that his work at the root as a libertarian message that is lacking in the work of most other opera composers. It is a constant message in Wagner's work and far overshadows any other theme.
1. The Dutchman is enslaved by Satan, as is his crew. The opera ends with their liberation.

2. Senta liberates herself from both her old vows to Erik and from the labor regime that surrounds her. Her "ballad" breaks up the labor of working women, despite the protests of the boss, who it seems is annoyed as much by the work stoppage as by the gossip. This is much like how Beckmesser's singing breaks up the work of Sachs in "Die Meistersinger." I like to think that women in nineteenth century Norway took many such unwelcome breaks during their working days.

3. The third act begins with another break in the work regime of the ship, as the ship crews have a party with the spinning women in attendance. Wagner's next opera will work in the opposite direction as Tannhauser attempts to liberate himself from the party, but the continuity of themes are there, as I will discuss next week.