Wagner: Der Fliegende Holländer – 1985 Bayreuth (Part 2: I Never Sang for my Father)

I would call this production of Der Fliegende Holländer ur-Regie. It doesn’t look like what we think of as regie, with its detailed period costumes and décor; but there is definitely a firm director’s hand guiding the plot. Harry Kupfer has a strong point of view that does not coincide exactly with Wagner’s original ideas. However, he makes a convincing case for his interpretation.  And he clearly worked closely with the singers on their characters. Each one (including each member of the chorus) has a strong character and an individual take on the action. Kupfer also choreographs many of the actors’ movements to coincide with musical gestures. It’s effective and not obvious or clichéd—I didn’t really notice the synchronization until the second or third viewing. In addition to the versatile set, the lighting enhances the action well.  The three acts are played without a break, per Wagner’s original intention.* 

Lisbeth Balslev has a bright, full, and clear voice. She sings with warmth (and an occasional appropriate chill); and fortunately, she lacks that stereotypical Wagnerian wobble that puts so many people off opera. She is a superb actor, too, and does “neurotic” well. I read recently that she studied nursing before starting her opera career. She apparently drew on her experience working in a psychiatric ward for her gripping portrayal. Senta is hunted, haunted, and obsessed. I just wanted to hug her and comfort her.