Where am I?

I am still floating several feet off the ground after last night's opera production at Davies Symphony Hall.

Although I am a fan of Wagner’s music, "Flying Dutchman" has never made that much of an impression on me over the years. Yes, I have enjoyed it but only certain sections, namely, the overture, the sailor’s chorus, and the spinning chorus remain in memory. Last night however, that all changed with a very powerful performance in Davies Symphony Hall.

The superb cast was headed by Mark Delavan as the Dutchman. His first monologue, “Die Frist ist um” became a show stopper as rare applause during a performance of a Wagner opera erupted. This was very incisive and forceful singing by this baritone who was sounding more like a bass at times. (A future Wotan perhaps??) His singing was chilling in its emotional power and tonal clarity and his presence continued to dominate the performance according to Joshua Kosman, Chronicle critic. I agree.

The surprise for me was how beautifully Jane Eaglen (Senta) sang. I have seen her in Turandot at SFO as well as in the Ring operas and as Norma at the Paris Opera (Bastille) but nothing prepared me for how beautifully she can sing and still unleash those white hot high notes with such precision. Kosman was impressed with how vital and strong her voice was, bringing a gleaming tone to the Ballad and a tender vigor to her duet with the Dutchman.

The rest of the superb cast featured Stephen Milling as Daland (he will be at SFO this fall as King Philippe II in Don Carlos), Eric Cutler as the Steersman, Jill Grove as Mary, and Mark Baker as Erik.

This was not exactly a concert. It was staged by making use of the terrace surrounding the stage as well as building a couple of crows nests on either side, the bigger of the two in Box A, was the Dutchman’s and the small one on the right for the Steersman. There were stylized sails (one doubling as the rear projection screen for supertitles for the folks on the main floor) and there were some very good lighting effects that enhanced the drama’s key moments. (The main supertitle screen was hung high in the hall which was viewable from the 1st and 2nd tier seats.) A small stage at the rear of the stage was built for Act II which is set in Daland’s house. The semi-permanent risers had been removed so the orchestra sat on a flat stage once again which became the orchestra pit with all action taking place above them.

The closing had a lighting effect which reminded me of disco lights from a mirrored ball at first but then as they rotated and moved upward and away from us towards the organ pipes behind the stage, I suddenly felt like that the spaceship Dutchman had taken off (snicker-snicker). Actually, though, it was effective with the mood and the action as his ship receded into the fog to wander the seas for another seven years.

At that point I was nearly in tears. This was a powerful performance and one I shall not forget. I know it is probably hoping for too much but I wonder if the symphony recorded that for CD release in the future.

Tonight I will be seeing Berlioz' "Damnation of Faust" at the opera house. It received a good opening night review but I wonder if anything could be as powerful and moving as last night's Dutchman.

I will let you know later.