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Restlessness and Redemption: Wagner's 'The Flying Dutchman'

Overview
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Love him or hate him, Richard Wagner has a reputation as the composer of immense, four-hour-plus dramas rooted in confusing stories and drawn from obscure mythology.

For legions of Wagner enthusiasts, that makes no difference. Countless music lovers have found themselves drawn -- raptly -- into the vast musical worlds Wagner created, and eager to return time after time. But there are others who find his sprawling, dramatic canvases -- the ones he called "music dramas" rather than operas -- to be abstruse, forbidding or simply too long to bear.

Yet Wagner wasn't always the composer his reputation now suggests. His earliest works are more traditionally operatic, and their musical style doesn't quite seem fully his own. But by his fifth opera, The Flying Dutchman, Wagner had hit his stride. Its powerful music clearly anticipates the groundbreaking dramas yet to come, yet it serves a simple and compelling tale that's brimming with action, and passion, from top to bottom. And its two-hour story seems to fly by, even in the original, one-act version.

The Wanderer

Wherever you look, in the history and literature of just about any culture, you can find a shadowy character generically described as "the wanderer." On film, we find examples among Hollywood Westerns. Think of all those Clint Eastwood movies where he plays an unknown horseman who rides into town, metes out justice, wins a heart or two and then leaves as mysteriously as he came. The title character in Wagner's The Flying Dutchman is simply a more venerable version of that same, legendary wanderer.

The Dutchman's story dates back centuries. He's the ship's captain who tempts fate and is cursed, doomed to wander stormy seas forever. By now, this character's tragic legend, and his evocative name, are pervasive enough to have made it into some unexpected places. In music, for example, there's an atmospheric, 2006 Tory Amos song called "The Flying Dutchman"; a popular 1979 "Flying Dutchman" by Jethro Tull; an obscure heavy metal tune, "Flying Dutch Man," by Kruger; and even an electro-pop version of Wagner's overture, by the Orchestra of the Golden Light.

Still, of all the Dutchman's varying incarnations, it's hard to think of one that's more vivid, dramatic and compelling than the one by Wagner.

On World of Opera, host Lisa Simeone presents Wagner's The Flying Dutchman from one of opera's most prestigious venues, London's Royal Opera House, Covent Garden. The stars are bass-baritone Egils Silins in the title role, with soprano Anja Kampe as Senta, the woman who frees the Dutchman from his eternal journey, in a production led by conductor Jeffrey Tate.