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The Flying Dutchman marks Wagner’s first real attempt at an opera that would break with convention by letting the story drive the music forward and moving from scene to scene without any pauses for applause. Do you think he succeeded? How would the opera feel different if the audience clapped after a standalone musical moment like Senta’s ballad in the second act? Many critics feel Senta is a silly sentimental figure who allows herself to be swept up in fantasy, while some consider her a strong and capable individual. Do you think she is foolish or brave? Or both?
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Working Rehearsal
Deborah F. Rutter President Darrell M. Ayers Vice President, Education
Michael L. Mael Executive Director
Richard Wagner’s
The Flying Dutchman Directed by Stephen Lawless
Conducted by Philippe Auguin
Francesca Zambello Artistic Director General Dynamics is the proud sponsor of WNO’s 2014-2015 Season.
WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. Additional support for The Flying Dutchman is provided by the Dallas Morse Coors Foundation for the Performing Arts.
Senta is captivated by the painting of the Flying Dutchman
The theme of a lone sufferer in search of love can be seen throughout movies, theater, and literature. What other Dutchman-type figures can you think of?
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David M. Rubenstein Chairman
How the melody that identifies the Dutchman (first heard in the booming sounds of the overture) recurs throughout the opera when the Dutchman is mentioned by other characters. How the composer links the music with the drama by having the orchestra mimic the scenes onstage (think trembling strings for thunder or wavy melodies for the whirl of the spinning wheels). The ways in which the music, lighting, and costumes for the Norwegian villagers differ from those used for the Dutchman’s crew. How can you tell these people come from separate worlds without hearing them sing a single word?
The Domingo-Cafritz Young Artist Program is made possible through the generous support of The Morris and Gwendolyn Cafritz Foundation. Additional funding for the Domingo-Cafritz Young Artist Program is provided by Judy and Billy Cox. Events for Students is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education. Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
“The time has come.” Every seven years, a cursed ship led by a man known as “the Flying Dutchman” is allowed to wash ashore—and now it has lowered anchor once again. The dark magic of the ship may be strong, but the tormented captain searches for a true love that’s even stronger.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about Education at the Kennedy Center at www.kennedy-center.org/education
Major support for WNO is provided by Jacqueline Badger Mars.
The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.
David and Alice Rubenstein are the Presenting Underwriters of WNO.
© 2015 The John F. Kennedy Center for the Performing Arts
Performance Guide
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Cuesheet
washington national opera
THINGS TO THINK ABOUT…