{"id":90097,"date":"2017-05-06T14:48:01","date_gmt":"2017-05-06T12:48:01","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=90097"},"modified":"2017-05-06T14:48:01","modified_gmt":"2017-05-06T12:48:01","slug":"new-york-metropolitan-opera-der-fliegende-hollander","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/new-york-metropolitan-opera-der-fliegende-hollander\/","title":{"rendered":"New York, Metropolitan Opera: “Der Fliegende Holl\u00e4nder”"},"content":{"rendered":"

New York, Metropolitan Opera, season 2016\/17<\/em>
\n<\/em>“DER FLIEGENDE HOLL\u00c4NDER”
\n<\/strong>Opera in three acts
\nLibretto and music by Richard Wagner
\n<\/strong>Daland\u00a0<\/em> FRANZ-JOSEF SELIG
\nSenta<\/em>\u00a0 AMBER WAGNER
\nErik<\/em>\u00a0 AJ GLUECKERT
\nMary\u00a0<\/em>DOLORA ZAJICK
\nSteersman<\/em>\u00a0 BEN BLISS
\nDutchman\u00a0<\/em> MICHAEL VOLLE
\nChorus and Orchestra of the Metropolitan Opera
\nConductor \u00a0Yannick N\u00e9zet-S\u00e9guin
\n<\/strong>Chrous \u00a0Daniel Palumbo
\n<\/strong>Director\u00a0August Everding, Stephen Pickover
\n<\/strong>Set\u00a0Hans Schavernoch
\n<\/strong>Costumes \u00a0Lore Haas
\n<\/strong>Lighting\u00a0 Gil Wechsler
\n<\/strong>New York, May 4, 2017
\n<\/em>\"\"<\/a>Der Fliegende Holl\u00e4nder<\/em> is making a rare return to the Met with an unusually strong cast, led by incoming Music Director Yannick N\u00e9zet-S\u00e9guin<\/strong>. The performance runs two and a half hours without intermission, as is nowadays standard. The maestro seemed in charge of the orchestra but not entirely in command of the score, which seemed to slow down, hold back, whenever he encountered the theme of predestined and sacrificial love. It is as if he was determined to underline, emphasize, italicize the theme, which is not necessary\u2014Wagner has already dinned it into our ears, from the prelude onwards. We cannot possibly escape its importance. We should let Wagner tell the tale his own way. He was a master of the theater and can be trusted in these matters.
\nThe Dutchman was Michael Volle<\/strong>, previously heard here only as Mandryka and Hans Sachs. The voice is not enormous but his skill in deploying it is masterful; his despair in the initial monologue, his fury in the final trio seemed to be self-consciously restrained as if he were holding back a rage that might destroy him if unleashed. It was a superbly paced, intelligent and musical performance.\u00a0Amber Wagner<\/strong>, the Senta is an exceptional hochjugend<\/em> soprano, with a voice of great size and the proper strength, whose metal does not preclude great beauty. She has sung wonderful Elsas in Chicago and Ariadnes in Montreal, and only the Met\u2019s disinclination to Wagner nowadays (a mistake, in my opinion\u2014the house was quite full for this Holl\u00e4nder <\/em>and the Tristan<\/em>s last fall) accounts for the rarity of her Met appearances. She is a full-figured woman but an able actress, and she moves well on stage. I hope she will be our Sieglinde in the next Ring<\/em>\u2014she will be singing the role in Australia this summer, and she has the expressive lyricism for it. The top is not\"\"<\/a> detached from the rest of the voices, as with some dramatic sopranos, but evolves properly out of a clear line. I could have hoped for more intensity, of desperation in this fey role\u2014I was raised on Leonie Rysanek\u2019s manic Sentas\u2014but Wagner is a strong singer, from ballad to fatal leap. There will be time to fill in details.\u00a0Franz-Josef Selig<\/strong> sang a satisfyingly amiable Daland, the dense but human figure who must hold his own in duet with archetypes. He phrases graciously if he does not overwhelm us with sound. Erik was a debutant, AJ Glueckert<\/strong>, a substitute for Jay Hunter Morris<\/strong>, who withdrew before the run began. Glueckert paced himself with caution and enthusiasm, and his judgment paid off: His wooing of Senta in the last act was extremely beautiful, his contribution to the trio most effective. Ben Bliss<\/strong>, best known here for Mozart, made a most appealing Steersman.\u00a0The basic August Everding <\/strong>production no longer surprises when it holds back from the antique supernaturalisms that the score might lead us to expect, but its snow storms, carnival costumes and vacant spaces allow the characters and chorus ample room. Some might object to a Dutchman and Senta who sing their passion quite so far apart on the stage, but they are, after all, in different worlds. It is a duet of separate monologues rather than a meeting of bodies. Sung by these voices, it will do very nicely.Photo: Richard Termine\/Metropolitan Opera.<\/em><\/p>\n

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New York, Metropolitan Opera, season 2016\/17 “DER FLIEGENDE HOLL\u00c4NDER” Opera in three acts Libretto and music by Richard […]<\/p>\n","protected":false},"author":499,"featured_media":90099,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[18549,12811,18551,18550,5747,9354,5294,7649,811,928,1181,17628,173,7651,915],"class_list":["post-90097","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-aj-glueckert","tag-amber-wagner","tag-august-everding","tag-ben-bliss","tag-der-fliegende-hollander","tag-foreign-readers","tag-franz-josef-selig","tag-jay-hunter-morris","tag-metropolitan-di-new-york","tag-michael-volle","tag-new-york","tag-new-york-city","tag-richard-wagner","tag-the-metropolitan-opera","tag-yannick-nezet-seguin"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/90097","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/499"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=90097"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/90097\/revisions"}],"predecessor-version":[{"id":90101,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/90097\/revisions\/90101"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/90099"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=90097"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=90097"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=90097"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}