Рихард Вагнер - Летучий Голландец / Richard Wagner - Der fliegende Hollander (Franz-Josef Selig) Кристиан Тилеманн / Christian Thielemann (Jan Philipp Gloger) [2013, Opera, DVD9]


 

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Richard Wagner - Der fliegende HollanderРихард ВАГНЕР - ЛЕТУЧИЙ ГОЛЛЛАНДЕЦ
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Год выпуска: 2014
Лейбл: OpusArte
Страна-производитель: Germany
Жанр: Opera
Продолжительность: 140 min (opera) + 25 min (bonus)
Язык: German
Субтитры: English, French, German, Korean
Режиссер: Jan Philipp Gloger
Исполнители:
Daland - Franz-Josef Selig
Senta - Ricarda Merbeth
Erik - Tomislav Mužek
Mary - Christa Mayer
The Steersman - Benjamin Bruns
The Dutchman - Samuel Youn
Bayreuth Festival Chorus and Orchestra
(chorus master: Eberhard Friedrich)
Christian Thielemann, conductor
Jan Philipp Gloger, stage director
Christof Hetzer, set designer
Karin Jud, costume designer
Urs Schönebaum, lighting designer
Recorded live at the Bayreuth Festival Theatre, July 2013
Bonus:
- Cast gallery
- Interviews with Jan Philipp Gloger, Christian Thielemann, Eberhard Friedrich and Benjamin Bruns
Качество видео: DVD9
Формат/Контейнер: DVDVideo
Видео кодек: MPEG2
Аудио кодек: PCM, DTS
Видео поток: NTSC 853x480 VBR
Аудио поток: 2.0 LPCM + 5.1(5.0) DTS

Review (Amazon)

This is a great performance and production from 2012 Bayreuth Festival. The singers, the chorus, the orchestra and the conductor are excellent. The interpretation and production is one of the best I've seen in Wagner productions. Wagner used to tell his children: "Always create new things, children". Unfortunately, his conservative wife, Cosima, directed the Bayreuth Festival after Wagner's death in 1883 until her own death in the 1930's like a museum. All productions were exactly the same as was during Wagner's life. Fortunately, Wagner's grandsons, especially Wieland began new productions after the end of the second world war. In recent years, Bayreuth Festival has become the forerunner of new interpretations. Unfortunately, our own Metropolitan Opera has become more and more conservative in its Wagner productions.
This does not mean all new interpretations are good. New interpretations are good as long they stay true to Wagner's idea. A few years ago, Wagner's great granddaughter, Katherina directed a production of the Meistersinger of Nurnberg that was way out of line and everything Wagner stood for in his philosophy.
Jan Philipp Golger's interpretation is wonderful and right on the target from Wagner's philosophy point of view: renunciation of greed and power in favor of true compassionate love. In this production, the time is 1950's in a capitalist society where everyone is after collecting more money. Senta's father is a factory owner that makes electric fans. He is ready to sell his daughter to the highest bidder. The Flying Dutchman come from the future (in the original story he is coming from the past) when the same capitalist society has reached its highest level where prople have become money making robots without any feelings for love. Only Flying Dutchman is aware of his lost identity and his curse. His curse is the same as Alberich's curse in Wagner's later opera, the Ring of the Nibelung. Alberich curses love in favor of the gold. The Dutchman when reaches the point of his curse in his monolog at the beginning of the opera, burns a dollar bill to show the reason of his curse. When he and Senta fall in love in the second act they both burn money on a pile of fire, again a reference to the Ring. The greatest idea comes at the end of the opera when Senta rescues the Dutchman from his curse through her compassionate love but we see others on the stage now making table lamps (instead of fans) with the statues of Senta and Dutchman hugging each other to show that the capitalist society is moving forward to its grim future. It has not learned its lesson from the Dutchman's fate.

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