Posted: Thursday, April 21, 2016 12:00 am
Not long ago during the “Pirates of the Caribbean” craze, teenage girls everywhere obsessed over the character of Capt. Jack Sparrow, adorning bedroom walls with posters and even life-size cutouts of him.
Imagine if the father of one of these adoring fans, coming home from work one day, actually brought with him Capt. Sparrow in the flesh to meet her, urging their union in marriage, and in doing so making her family immensely rich and saving the captain’s soul in the bargain.
This is the basic idea behind the plot of Richard Wagner’s “The Flying Dutchman,” with two final performances by the Virginia Opera this Saturday and Sunday at George Mason University’s Center For the Arts in Fairfax.
In the opera our heroine, Senta, is somewhat in shock when her father presents The Dutchman, the man whose portrait she clutches to her heart, and about whom she has just sung a passionate aria wishing she could save him from his doomed fate.
“The music is full of her feelings,” said Virginia Opera stage director Sara Widzer. “You can completely identify with her astonishment, along with excitement, but also fear. They all just stand there and nobody is saying anything, but you can hear their feelings in the music.”
In 2013 Widzer assisted notable director Francesca Zambello in staging the New York Glimmerglass Festival’s new production of “The Flying Dutchman.” Last season Widzer remounted the same production with the Hawaii Opera Theatre, and now again with The Virginia Opera this spring.
“Each time, with a new cast and new location, the feel is different, it’s fresh and exciting,” Widzer said. “But the basic elements are the same—the set, the costuming, the general approach.”
The Virginia Opera cast features three principal singers who are reprising their performances from past productions: Wayne Tigges in the title role, as well as Peter Volpe as Daland, Senta’s father, and Corey Bix as Erik, Senta’s suitor.
“They are each truly outstanding, and with their past experience in these roles, they really bring knowledge and depth,” Widzer said. “And yet they were all flexible and willing to try a new interpretation, a new way to look at it.”
Christina Pier in the role of Senta, Rachelle Pike as Mary and David Blalock as the Steersman are each singing Wagner for the first time.
“All of them, it’s amazing, their musicality and strength as singers is unbelievable,” Widzer said. “It’s been very exciting to have such an exciting mix of new talent and seasoned experience working together.”
Senta, in particular, is a very demanding role, requiring an incredible amount of power and volume.
“You would never guess this is her first time singing Wagner,” Widzer said. “It’s just like she’s speaking directly to you.”
Virginia Opera conductor Adam Turner said, “Sometimes putting a cast together you just don’t know how they’re going to mesh, and we really lucked out with this group. They are truly outstanding. There is no weak link.”
At the age of 26 and long before he had established himself as the legend he is today, Wagner both composed and wrote the libretto for “The Flying Dutchman,” which was first performed in Dresden in 1843.
“There is sometimes a stigma with Wagner,” said Turner. “People think his operas are long and boring. But this opera—2-1/2 hours total—sails by, we can identify with these people, the music is powerful and engaging. If you’re ever going to give Wagner a chance, this is the opera to see.”
Turner makes his Wagnerian conducting debut with this production, although he was assistant conductor and rehearsal pianist for several Wagner operas at companies from Seattle to Germany.
As they do with each of the four operas they produce each season, The Virginia Opera offered performances of “The Flying Dutchman” early this month in Norfolk, then again last weekend in Richmond, with the closing two performances Saturday and Sunday in Fairfax.
Turner said his mother visited from out of state to see the opening production in Norfolk.
“My mother had never seen an opera, she’s never seen anything like this,” Turner said. “The whole time she was looking for the microphones. She just couldn’t believe these people were capable of making such a huge sound, singing over a whole orchestra, with no amplification.”
Turner said you really have to hear it live to truly comprehend the power of the human voice as an instrument. “It resonates down into your spine.” He laughed. “She was just blown away.”
Emily Jennings is a Stafford-based freelance writer.