The great bass-baritone Sir Bryn Terfel returns to the company for the first time since 2012, in the title role of the cursed sea captain doomed to sail the open ocean for eternity. Valery Gergiev conducts a new production by François Girard, whose visionary 2013 take on Parsifal set the recent Met standard for Wagner stagings. With sweeping sets by John Macfarlane, Girard’s new production turns the Met stage into a rich, layered tableau reminiscent of a vast oil painting. The gifted German soprano Anja Kampe, in her Met debut, is the devoted Senta, whose selfless love is what the Dutchman seeks, with bass Franz-Josef Selig as her father, Daland, and tenor Sergey Skorokhodov as her deserted former lover, Erik.

A co-production of the Metropolitan Opera; L’Opéra de Québec; and Dutch National Opera, Amsterdam

World premiere: Dresden, Court Opera, 1843. Der Fliegende Holländer is the earliest of Wagner’s operatic creations to remain in the repertory. The two lead roles represent archetypes to which the composer would return, in one form or another, in most of his later works: the “otherworldly stranger” and the woman who sacrifices herself for his salvation. The work’s unearthly ambience is impressive but only one aspect of it: Both the world of nature and of the supernatural are magnificently evoked in the score.

Setting

The opera is set on the Norwegian coast. The time of the action is not specified in the score.

Music

The score of Der Fliegende Holländer is an extraordinary combination of operatic lyricism, dramatic insight, and magnificent effects. At the time it was written, Wagner had not yet developed his theories of music-drama, which would form the basis for his later works. Many of the features of conventional opera (recitatives, arias, ensembles), therefore, can still be found, but the way Wagner integrates them into the fabric of the score clearly foreshadows his later technique of a continuous musical flow.

The Flying Dutchman (Dutch: De Vliegende Hollander) is a legendary ghost ship that can never make port and is doomed to sail the oceans forever. The myth is likely to have originated from the 17th-century golden age of the Dutch East India Company (VOC). The oldest extant version has been dated to the late 18th century. Sightings in the 19th and 20th centuries reported the ship to be glowing with ghostly light. If hailed by another ship, the crew of the Flying Dutchman will try to send messages to land, or to people long dead. In ocean lore, the sight of this phantom ship is a portent of doom.

Origins

The first print reference to the ship appears in Travels in various part of Europe, Asia and Africa during a series of thirty years and upward (1790) by John MacDonald :

The weather was so stormy that the sailors said they saw the Flying Dutchman. The common story is that this Dutchman came to the Cape in distress of weather and wanted to get into harbour but could not get a pilot to conduct her and was lost and that ever since in very bad weather her vision appears.

The next literary reference appears in Chapter VI of A Voyage to Botany Bay (1795) (also known as A Voyage to New South Wales), attributed to George Barrington (1755–1804):

I had often heard of the superstition of sailors respecting apparitions and doom, but had never given much credit to the report; it seems that some years since a Dutch man-of-war was lost off the Cape of Good Hope, and every soul on board perished; her consort weathered the gale, and arrived soon after at the Cape. Having refitted, and returning to Europe, they were assailed by a violent tempest nearly in the same latitude. In the night watch some of the people saw, or imagined they saw, a vessel standing for them under a press of sail, as though she would run them down: one in particular affirmed it was the ship that had foundered in the former gale, and that it must certainly be her, or the apparition of her; but on its clearing up, the object, a dark thick cloud, disappeared. Nothing could do away the idea of this phenomenon on the minds of the sailors; and, on their relating the circumstances when they arrived in port, the story spread like wild-fire, and the supposed phantom was called the Flying Dutchman. From the Dutch the English seamen got the infatuation, and there are very few Indiamen, but what has some one on board, who pretends to have seen the apparition.

The next literary reference introduces the motif of punishment for a crime, in Scenes of Infancy (Edinburgh, 1803) by John Leyden (1775–1811):

It is a common superstition of mariners, that, in the high southern latitudes on the coast of Africa, hurricanes are frequently ushered in by the appearance of a spectre-ship, denominated the Flying Dutchman ... The crew of this vessel are supposed to have been guilty of some dreadful crime, in the infancy of navigation; and to have been stricken with pestilence ... and are ordained still to traverse the ocean on which they perished, till the period of their penance expire.

Thomas Moore (1779–1852) places the vessel in the north Atlantic in his poem Written on passing Dead-man's Island in the Gulf of St. Lawrence, Late in the evening, September, 1804: "Fast gliding along, a gloomy bark / Her sails are full, though the wind is still, / And there blows not a breath her sails to fill." A footnote adds: "The above lines were suggested by a superstition very common among sailors, who call this ghost-ship, I think, 'the flying Dutch-man'."

Sir Walter Scott (1771–1832), a friend of John Leyden's, was the first to refer to the vessel as a pirate ship, writing in the notes to Rokeby; a poem (first published December 1812) that the ship was "originally a vessel loaded with great wealth, on board of which some horrid act of murder and piracy had been committed" and that the apparition of the ship "is considered by the mariners as the worst of all possible omens."

According to some sources, 17th-century Dutch captain Bernard Fokke is the model for the captain of the ghost ship. Fokke was renowned for the speed of his trips from the Netherlands to Java and was suspected of being in league with the Devil. The first version of the legend as a story was printed in Blackwood's Edinburgh Magazine for May 1821, which puts the scene as the Cape of Good Hope. This story introduces the name Captain Hendrick Van der Decken for the captain and the motifs (elaborated by later writers) of letters addressed to people long dead being offered to other ships for delivery, but if accepted will bring misfortune; and the captain having sworn to round the Cape of Good Hope though it should take until the day of judgment.

She was an Amsterdam vessel and sailed from port seventy years ago. Her master's name was Van der Decken. He was a staunch seaman, and would have his own way in spite of the devil. For all that, never a sailor under him had reason to complain; though how it is on board with them nobody knows. The story is this: that in doubling the Cape they were a long day trying to weather the Table Bay. However, the wind headed them, and went against them more and more, and Van der Decken walked the deck, swearing at the wind. Just after sunset a vessel spoke him, asking him if he did not mean to go into the bay that night. Van der Decken replied: "May I be eternally damned if I do, though I should beat about here till the day of judgment." And to be sure, he never did go into that bay, for it is believed that he continues to beat about in these seas still, and will do so long enough. This vessel is never seen but with foul weather along with her.