Der fliegende Holländer in Zurich
One of two reviews by the globetrotting Wagner reviewer: Jim Leigh
See also: Review- Die Walküre at Zurich
I saw the 1995 Ruth Berghaus Zurich production on 1 July 2001; stage
design Hartmut Meyer, costumes Margit Koppendorfer, lighting Jürgen
Hoffman). Zurich has an opera house with the highest standards of
production, singing and orchestral playing. Top prices are 220 Swiss
francs (about 250 $A) and well worth it
The production was essentially a two level set with a further central
opening shell for especially significant entrances. Set reconfigurations
allowed a smooth transition to Daland's house.
A key element was the pseudo-balletic choreography of the Dutch and
Norwegian crews. Bringing in treasure boxes, ship work and the Norwegian
girls in "Act III" legs over the rail. The spinning chorus
involved large ship ropes much in the style of Norns. The Dutchman
portrait was represented by the actual Dutchman in 16th
century dress standing in a lit rectangular doorway on the upper level.
Senta did not jump and the ghostly crew was not seen.
Of the singers, Senta (Anne Schwäwilms) stood out. Peter Seiffert
(Bayreuth Lohengrin 2001 and Walther 1997) overdid Erik, Alfred Muff
(Holländer) was better than he was as Wotan in Walküre,
Steurmann (Kenneth Roberson) sang and acted well. The chorus (Director
Jürg Haemmerli) was excellent and the orchestra played superbly under
Weikert. Nadine Asher (Mary) got a few boos.
It was fascinating to see this Holländer a day after visiting
the house in Meudon, on the outskirts of Paris, where he wrote the
whole thing (text, music) in the period May-October 1841, and the
house 14 Rue Jacob where he wrote the overture in October-November
1841.
To get to Meudon by train and bus, take RERC to Meudon Val de Fleury
and bus 169 to Gare de Bellevue and walk up Ave du Chateau towards
the observatory. The house is No 27 Rue Jacob and is in the Latin
Quarter.
To see excellent Wagner performed in the town that was so significant
in his creative life was an intensely moving experience. To see all
the places where he lived and read and performed his work when he
was developing his mature style added immeasurably to the experience
at the opera itself.
Jim Leigh
January 2002
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