![Der Fliegende Hollander [Blu-ray]](https://m.media-amazon.com/images/I/71biCdqk4CL.__AC_SX300_SY300_QL70_ML2_.jpg)
All too often, hopes of a landmark production of Der fliegende Holländer are shattered by mediocre ideas taken too far and too long. Fidelity to the source is not currently fashionable in opera productions, and it is a relief that the director for this production has chosen a fairly traditional staging and not one of these deconstructive analysis of the work. Of course, there may be good reasons for not staging an opera in realistic sets that are representative of the original setting. Some of Wagner's later operas lend themselves well to a more abstract expression, but director Paul Curran seems to hold a view that there's nothing to be gained from working outside the traditional idiom with this particular opera.
The scenes basically follow previously seen environments - a port with a ghostly vessels, the ladies sewing in the workshop of Daland’s home and the sea shore. The use of video and computer generated imaging technology and lighting is creating atmospheric and effective sets. Act 1 is bathed in a chilling cold blue-green light and projections of the raging sea reinforce the gloomy atmosphere. The workshop in Act 2, where the seamstresses work, displays a warm light, and it is possible to see the sea out of the windows and through the open door. A zombie-like Dutchman’s crew in Act 3 is almost too overwhelming but the disjointed and fragmented video images of blood and scenes of horror really have an impact. The costumes are mid-20th century clothing, the ladies in brown/yellow/green gowns in discrete earth tones. However, the Dutchman wear 17th century Dutch attire, black doublet and hose, and Senta a beautiful gothic green silk and satin gown.
Within the cast Marjorie Owens, singing the part of Senta, stands out from the rest. She is possessing a full and soft voice in the middle register and soaring in the high notes. Her singing in Act 3, both controlled and wildly ecstatic, stands out as some of the most electrifying music-making I have heard in a very long time. Thomas Gazheli is a Dutchman with a robust voice with bass qualities to establish the character’s emotionel weight but also effective baritone colours that convey anguish. His long and tormented entrance aria ‘Die frist ist um’ is impressive and moving. Vocally his Dutchman is not always perfect but deeply moving and his acting is heart wrenching.
Mikhail Petrenko has a rich deep bass, appropriate for the role of Daland, but his portrayal of Daland’s greed borders on a caricature. Bernhard Berchtold is an absolutely solid Erik. His voice has a pleasent timbre, his singing is heartfelt and emotional and he brings depth and compassion to the role. The chorus is well-rehearsed especially in the ‘Steuermann! Lass die Wacht’. The playing from the Orchestra del Maggio Musicale Fiorentino is superb. Fabio Luisi brings out all the excitement, richness, and beauty of the score paying close attention to the singers.
Tiziano Mancini and his team have done an excellent job with this Blu-ray video. Filmed in 4K Ultra HD and downscaled to HD 1080i (essentially oversampling the image to have 4 times the data for every pixel) the Blu-ray looks every bit as impressive as it should be. You don’t get an image that’s four times better looking, but the transfer is coping well with the low stage lighting and the end result is noticeably sharper and the colours more vivid. The HD image of the well lit Act 2 is state-of-the-art for 2K Blu-ray. The sound is excellent.
他の国からのトップレビュー
Jorge
Fairly traditional staging with no unnecessary modernism has much to offer
2020年5月11日に英国でレビュー済みAmazonで購入
