TY - JOUR
AU - Wernicke, Herbert
AB - 518 | notes from the stage: DER FLIEGENDE HOLLÄNDER Herbert Wernicke Der fliegende Holländer Bayerische Staatsoper, 1981 The space of the entire plot: some archetypical living-space, initially irritating, undefined, then in part recognized by the intruding Dutchman as an ideal space for his desires, finally shown to be Daland’s concrete world. A theatrical plot breaks into this space, escalating until it reaches its ultimate conclusion: Senta’s death. The Dutchman and his crew are real figures who, at a certain point, driven by anger and desperation, cut themselves off from society, fleeing into a kind of piracy. Their leader, their captain, the Dutchman, is driven by the sole desire to return to the very society he abandoned. Daland and his sailors, representing the world of men, are fully integrated into this social structure, as are Daland’s daughter Senta, Mary, and the women. Senta perceives the powerful pressures to which the women in Daland’s house submit. She wants to escape these bourgeois constraints; she yearns for a person who won’t regiment her (Mary), deride her out of jealousy and stupidity (the girls), or bind her through egotistical love (Erik). Her dream of freedom is to sacrifice herself for a man whom 
TI - Remarks on the Munich Production
JF - The Opera Quarterly
DO - 10.1093/oq/kbi076
DA - 2005-01-01
UR - https://www.deepdyve.com/lp/oxford-university-press/remarks-on-the-munich-production-cHMvcl0fSR
SP - 518
EP - 521
VL - 21
IS - 3
DP - DeepDyve
ER -