Review Roundup: Did Met Opera's 'Der Fliegende Hollander' Soar?

The Met Opera opened Richard Wagner's Der Fliegende Holländer on April 25th. New Met star Michael Volle sings the title role of the ghostly sailor damned to wander the seas in search of the love that will set him free, under the baton of the exciting Yannick Nézet-Séguin. Amber Wagner is Senta, whose love he seeks. The powerhouse cast also includes Dolora Zajick, Ben Bliss, Franz-Josef Selig, and AJ Glueckert as Erik.

Let's see what the critics had to say:

ANTHONY TOMMASINI, NY Times: Though the playing abounded in youthful energy and dramatic sweep, other, deeper qualities distinguished the account of this early Wagner opera, first performed in Dresden in 1843. Mr. Nézet-Séguin drew both heaving intensity and diaphanous beauty from the music (here performed in the version with instrumental transitions between the acts, forming a continuous drama of some two hours and 20 minutes).

Striving for absolute precision seemed not the driving concern. Now and then there were slightly shaky entrances, and little glitches of coordination between the chorus and the orchestra. This hardly mattered, for all the naturalness and immediacy of the playing. This was a sensual, inexorable account of the opera.

Richard Sasanow, BroadwayWorld: Volle, in his black coat and icy demeanor, was enough to drive fear into the heart of anyone--except those who came for powerful singing. From his introductory monologue all the way through to his departure, letting Senta off the hook, though he (wrongly) thought her less than true to him, the baritone sounded dark, rich and thrilling. His character may have been cursed to sail the seas, but Volle was blessed with a voice that makes glorious music.

Martin Bernheimer, Financial Times: As Senta, the heroine, Amber Wagner's lush dramatic soprano sounded shrill even on the rare occasions when it was not subjected to undue force. Although hardly girlish, she worked through Everding's hand-me-down prima donna routines with aplomb. In context, unfortunately, it wasn't enough. Dolora Zajick made much of the minor, sinister duties allotted old Mary. The veteran mezzo-soprano rolled deftly about the stage in the post-Bayreuth wheelchair that apparently has become part of her character's persona. No harm done but no intrinsic reason for it either.

James Jorden, Observer: For this performance, Nézet-Séguin deserved every decibel of acclaim and then some. In this setting of the gothic tale of the cursed Flying Dutchman and his zombie ship's crew, more than two hours of intermissionless bombast and lyricism seemed to fly without pausing for breath. The momentum was irresistible.

George Grella, NY Classical Review: Nézet-Séguin led a fiery performance of The Flying Dutchman, with a superior level of singing. If the overall production had some clunkiness, that was no fault of the conductor.

Not that Nézet-Séquin himself was flawless. After an electrifying opening for the Overture, the quiet music was prosaic, rather than tender. The Overture never returned to its initial galvanizing feeling, but once the curtain went up and the chorus of sailors belted out a full-throated "Hojoje!" the fierce energy returned.

To post a comment, you must register and login.