A tout Seigneur, tout honneur ! In The Flying Dutchman, it is with ample means that the score and libretto summon the enchanting power of the myth inspired by Heine’s work. If, in addition, a convincing staging is deployed, we will have the joy of experiencing a moment that spans a wide spectrum of emotions, from the most delicate beauty to the most ravaging intensity. Combining the elegant imagination of Philipp Stölzl with the power infused by Pablo Heras-Casado at the Staatskapelle Berlin, the Staatsoper Berlin offers an opportunity, for those still questioning the legitimacy of this so-called “youthful” work within the context of Wagnerian operatic production, to easily recognize how worthy it is of interest, on par with the other productions of the master of Bayreuth.

From the Ouvertüre, we are captivated by the intensity of the surges and the delicacy of the moments of relaxation, between which various tones sketch scenes that help us build the universe in which the opera unfolds. It is evident that the Spanish conductor chooses to embrace all the emphasis and grandiloquence infused by the composer into the score. A certain sensation of saturation might be feared; fortunately, it does not occur: Heras-Casado has the necessary intimacy with this work to adjust the contrasts and better channel the orchestral breath over the uninterrupted 2-hour performance.

The opulent cast features four pillars who, individually, would each deserve a dedicated review. Their talent and commitment ensure an intensity equivalent to that emanating from the orchestra. First, there is James Rutherford’s dark Holländer, whose first recitative is poignant to the point of tears: with what distress he launches his Voll Überdruss wirft mich das Meer ans Land…! Across all registers, from low and deep notes to high notes projected with the most violent exaltation, his vocal line remains exemplary, with enviable diction, while respecting the profoundly melancholic character, filled with the most overwhelming desolation, the result of centuries of endless wandering.

What can be said about Ricarda Merbeth’s Senta? The role is crucifying, demanding inexhaustible energy, an absolute belief in an ideal bordering on the supernatural, culminating in her disappearance, and highly demanding vocal abilities. She rises to the occasion at every moment of the performance, meticulously ensuring the intelligibility of the text and the staging’s intentions – the young Senta in the first act who follows the story of the Flying Dutchman until she literally falls madly in love, without realizing that what she believes in is merely the fruit of her dream. Having the chance to witness such an incarnation is to partake in a moment that will be spoken of for years to come!

Andreas Schager’s superlative Erik offers us the opportunity to admire how the immense talent of the Heldentenor par excellence can transform a marginal character into an indispensable cornerstone for maintaining the dramatic atmosphere of the work. His vast experience in the Wagnerian repertoire allows him to fully embody the role of the lyrical tenor, setting aside the Italianate colors to exalt and amplify the hunter’s suffering.

Falk Struckmann portrays a Daland who, while not venal, does not hide that his motivations are far from the almost mystical fervor of his daughter. His elegance, impeccable legato, and a slight touch of mischief are the ingredients that allow him to deliver a fine performance.

Let’s not overlook the warm and enveloping voice of Siyabonga Maqungo in the role of Steuermann, the excellent Mary of Anna Kissjudit (her voice, perfectly distinct from that of Ricarda Merbeth, with a slightly darker coloration, wonderfully matches the character of the perpetually discontented nurse), as well as the outstanding performance by the Staatsopernchor.

Preis’ deinen Engel und sein Gebot: after such an extraordinary evening, where so many assets were brought together to create a true synergy between stage and pit, we can only bow to Senta’s command.

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DER FLIEGENDE HOLLÄNDER

(For further informations) Link to the Staatsoper Berlin website: Der fliegende Holländer (2025 production) – Staatsoper Berlin