Richard Wagner's opera "The Flying Dutchman" (Der Fliegende Hollander)

Opera in three acts. Libretto by the composer based on the folk legend and short story by G. Heine “From the Memoirs of Herr von Schnabelewopsky.”

First performance: Dresden, 1843.

Characters:

The Dutchman (baritone), Daland, the Norwegian sailor (bass), Senta, his daughter (soprano), Eric, the hunter (tenor), Mary, Senta's nurse (mezzo-soprano), Daland's ship's helmsman (tenor), Norwegian sailors, the crew of the Flying Dutch, girls.

The action takes place on the Norwegian coast around 1650.

An ensuing storm threw the ship of the Norwegian sailor Daland into a bay off the rocky coast. The tired Helmsman, trying in vain to cheer himself up with a song, falls asleep on watch. In a flash of lightning, under the whistle of an intensifying storm, the Flying Dutchman appears on a mysterious ship with blood-red sails and a black mast. The pale captain slowly goes ashore. A curse hangs over him: he is doomed to wander forever. In vain he longs for death; his ship remained unharmed in storms and storms; pirates were not attracted to his treasures. He cannot find peace either on earth or in the waves. The Dutchman asks Daland for shelter, promising him untold riches. He is glad to have the opportunity to get rich and willingly agrees to marry his daughter Senta to the sailor. Hope lights up in the soul of the wanderer: perhaps in the Daland family he will find his lost homeland, and the love of the tender and devoted Senta will give him the peace he desires. Joyfully welcoming the fair wind, the Norwegian sailors prepare to sail.

While waiting for Daland's ship to return, the girls sing at their spinning wheels. Senta is immersed in contemplation of an ancient portrait, which depicts a sailor with a pale, sad face. Her friends tease Senta, reminding her of the hunter Eric who is in love with her, who hates this portrait. Since childhood, Senta has been singing a ballad about a wanderer that has sunk into her soul: a ship is forever rushing across the seas; Every seven years the captain comes ashore and looks for a girl, faithful to the grave, who alone can put an end to his suffering, but nowhere does he find a faithful heart and again raises the sails of the ghostly ship. Senta's friends are excited by the grim fate of the wanderer, and she, seized by an enthusiastic impulse, vows to lift the spell from the Dutchman. Senta's words amaze Eric as he enters; he is tormented by a strange premonition. Eric tells an ominous dream: one day he saw a strange ship in the bay, from which two people came ashore - Senta’s father and the stranger - the sailor from the portrait; Senta ran out to meet them and passionately hugged the stranger. Now Senta is sure that the wanderer is waiting for her. Eric runs away in despair. Suddenly Daland and the Dutchman appear on the threshold. The father happily tells Senta about the meeting with the captain; he will not spare gifts for her and will become good husband. But Senta, amazed by the meeting, does not hear her father’s words. Surprised by the silence of his daughter and guest, Daland leaves them alone. The Dutchman does not take his eyes off Senta: her loyalty and love should bring him deliverance.

Norwegian sailors noisily celebrate their safe return. They invite the crew of the Dutch ship to have fun, but darkness and silence reign there. Daland's sailors taunt the mysterious crew and scare the girls with stories about the Flying Dutchman. Suddenly a storm begins at sea, the wind whistles in the rigging and inflates the sails; Wild singing can be heard from the deck of the ghostly ship, causing horror among the Norwegian sailors. They unsuccessfully try to drown him out with a cheerful song and run away in fear. Eric, who learned about the engagement, persistently convinces Senta not to connect her fate with a stranger. But Senta does not listen to him: she has taken an oath, her highest duty calls her. Then Eric reminds of the days spent together, of tender declarations of mutual love. This plunges the Dutchman into despair: it seems to him that he has not found eternal fidelity in Sainte either. He reveals his secret and hurries to the ship to once again embark on endless wanderings. It is in vain that Eric and Daland hold back Senta - she is firm in her decision to save the wanderer to whom she has sworn allegiance. From a high cliff she throws herself into the sea, atoning for the sins of the Dutchman with her death. The ghostly ship sinks, and the souls of lovers are united after death.

The source of the plot of “The Flying Dutchman” was a legend widespread among sailors about a ghost ship, probably dating back to the 16th century, the era of great geographical discoveries. This legend fascinated G. Heine for many years. In the story “From the Memoirs of Herr von Schnabelewopsky” (1834), Heine processed it in his characteristic ironic manner, passing off his treatment as a play supposedly seen in Amsterdam. Wagner met her in 1838, while staying in Riga. Interest in the image of a wandering sailor intensified under the impression of a long sea voyage to London; a terrible storm, harsh Norwegian fjords, stories of sailors - all this revived the ancient legend in his imagination. Wagner saw in it a different dramatic meaning than Heine. The composer was attracted by the mysterious, romantic setting of events: a stormy sea, along which a ghostly ship forever rushes without purpose, without hope, a mysterious portrait that plays a fatal role in the fate of the heroine, and most importantly - tragic image wanderer. Wagner’s favorite theme of female fidelity, which runs through many of his works, was also deeply developed in the opera. He created the image of a dreamy, exalted and at the same time courageous, decisive, ready for self-sacrifice girl, who with selfless love and spiritual purity atones for the hero’s sins and brings him salvation. To aggravate the conflict, the composer introduced a new contrasting image - the hunter Eric, Senta's groom, and also widely developed folk scenes. In 1840, Wagner sketched the text of a one-act opera, and in May 1841, in 10 days, he created the final 3-act version. The music was written very quickly, in a single creative impulse - the opera was completed in seven weeks (August-September 1841). The premiere took place on January 2, 1843 in Dresden, conducted by Wagner.

"Flying Dutchman" - romantic opera, combining folk scenes with fantastic ones. Cheerful choirs of sailors and girls depict the simple, serene life of the people. In the pictures of a storm, a raging sea, in the singing of the crew of a ghostly ship, the mysterious images of an ancient legend are resurrected. The music that embodies the drama of the Dutchman and Senta is characterized by excitement and emotional elation.

The overture conveys the main idea of ​​the opera. At first, the threatening leitmotif of the Dutchman is heard among the horns and bassoons, and a picture of a stormy sea appears; then the cor anglais, accompanied by wind instruments, sounds Senta's bright, melodious leitmotif. At the end of the overture, it acquires an enthusiastic, ecstatic character, heralding the redemption and salvation of the hero.

In Act I, against the backdrop of a stormy seascape Mass scenes unfold with vivacity and courageous strength, clearly highlighting the tragic feelings of the Dutchman. The Helmsman’s song “The ocean rushed me along with the storm” is marked by carefree energy. The big aria “The Term Is Over” is a dark, romantically rebellious monologue from the Dutchman; the slow part “Oh, for the hope of salvation” is permeated with restrained sorrow, a passionate dream of peace. In the duet, the wanderer’s melodious, sad phrases are answered by Daland’s short, animated remarks. The act ends with the initial song of the Helmsman, which sounds bright and joyful to the choir.

Act II opens with a cheerful chorus of girls “Well, work quickly, spinning wheel”; accompanied by the orchestral accompaniment one can hear the tireless whir of the spindle. The central place in this scene is occupied by Senta’s dramatic ballad “Did you meet a ship at sea” - the most important episode opera: as in the overture, the themes depicting the raging elements and the curse weighing on the hero are contrasted with a peaceful melody of redemption, warmed by a feeling of love and compassion. A new contrast is the duet of Eric and Senta: the tender confession “I love you, Senta, passionately” is replaced by an excited story about a prophetic dream “I was lying on a high rock”; at the end of the duet, like a nagging thought, the Dutchman’s leitmotif sounds again. The pinnacle of the development of Act II is the big duet of Senta and the Dutchman, full of passionate feeling; there are many beautiful, expressive, singable melodies here - harsh and mournful for the Dutchman, bright and enthusiastic for Senta.

In Act III there are two contrasting sections: a mass choral scene of folk fun and the denouement of the drama. The energetic, cheerful choir of sailors “Helmsman!” From Watch Down” is close to freedom-loving German songs. The female choir is painted in softer tones, its character reminiscent of a waltz - sometimes playful, sometimes melancholic. The repetition of the Helmsman chorus is suddenly interrupted by the ominous singing of the Dutchman's ghostly crew; a menacing fanfare cry sounds, images of a storm appear in the orchestra. The final terzetto conveys a change of conflicting feelings: Eric’s tender lyrical cavatina “Oh, remember the day of your first date” is invaded by the rapid, dramatic exclamations of the Dutchman and the excited phrases of Senta. The solemn orchestral conclusion of the opera combines the enlightened cry of the Dutchman and the peaceful leitmotif of Senta.

The opera begins from a moment when there is continuous bad weather at sea. Daland's ship docks on a rocky shore. The sailor standing at the helm is tired. Despite the fact that he tried to cheer himself up, he still fell asleep.

Lightning rumbles and lightning flashes, where through its reflections a ship with red sails is visible. This Flying Dutchman. The captain comes down from the deck, sad and tired, as he and his crew suffer only failures. He is cursed and must now constantly wander the sea. He can set foot on land only once every 7 years. And if he marries a girl who will become him faithful wife, then the curse will subside. The Dutchman makes acquaintance with Daland, wanting him to become his friend. For his consent, the leader of the damned ship is ready to give him all the wealth. During the conversation, it turns out that Daland has a sister, and the Dutchman asks the girl to become his wife.

Meanwhile, Senta, a rebellious and eccentric girl, sits waiting young man, supposedly, who should sail for her. However, she is courted by another young man living nearby, who is ready to do anything for the sake of her love for him. Soon the girl’s brother comes with a guest, and she recognizes the betrothed who often came to her in her dreams.

Senta, having learned about the stranger's curse, makes a promise to always be with him. But the captain warns that being with him means being in danger. But the girl doesn’t want to hear about it. Eric, having heard his lover's confession to another man, convinces her that she will only be happy with him. And Senta, having changed her mind, agrees to marry him. The Dutchman, when he learned about the girl’s betrayal, says that he will never confess his love to anyone again and will forever wander the seas. He sets sail with his sailors, and Senta jumps off a cliff, thereby proving that she is faithful to him. And at that very moment the ship of the Flying Dutchman goes to the bottom. And in the gap the image of the wanderer and Senta are shown. Opera teaches you to be faithful to your chosen one.

Picture or drawing Wagner - The Flying Dutchman

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In 1839, 26-year-old Wagner and his wife Minna secretly left Riga, hiding from creditors. They were denied passports, so they had to cross the Prussian border illegally. In a roundabout way, through London, and not without troubles (Minna had a miscarriage on the way), they get to ultimate goal his journey - Paris, which Wagner hopes to conquer with his “grand opera” “Rienzi”. The calculation did not materialize: no one was interested in Rienzi, and then the composer, gradually falling into poverty and forced to make a living by journalism and copying notes, decided to set himself a more modest standard: to write a small “opera for raising the curtain” (lever de rideau) - such operas are usually preceded ballet performances; in the language of modern show business, this genre could probably be called “warm-up opera.” This, by the way, explains such a short duration of The Flying Dutchman, especially in comparison with other operas by the same author.

According to legend, Wagner came up with the idea for “The Dutchman” during a strong storm that he and Minna encountered on their way to London. The plot of the opera was borrowed from Heinrich Heine’s short story “Memoirs of Herr von Schnabelevsky.” In Paris, Wagner began composing music, and also composed French a detailed synopsis of the planned composition in order to show it to the omnipotent and omnipresent Eugene Scribe, whose support he hoped for. It is assumed that Heine himself helped Wagner, whose French was not perfect, in compiling this synopsis. Alas, another failure: Scribe remained indifferent to the proposed plot and did not want to write a libretto. However, Wagner managed to get the newly appointed director to audition Paris Opera Leon Pillet, to whom he presented the German libretto of his own composition and those musical excerpts that had already been written: Senta's ballad, sailors' choir Steuermann, lass die Wacht! and the following chorus of ghosts. Incredibly, the music of these fragments, now so beloved by music lovers, seemed to the director of the Opera to be completely devoid of any merits. But he was interested in the plot itself, and he suggested that Wagner sell it. Wagner, being short of funds, was forced to agree: on July 2, 1841, the detailed summary that he prepared for Scribe was given to Pillet for 500 francs. One can only guess how offensive such a deal might have seemed to the composer. Before accusing other geniuses of being excessively prone to misanthropy, I advise you to remember a couple of such nice facts that can easily be found in the biography of almost any major innovative artist.

However, Wagner was already too carried away by The Flying Dutchman to stop halfway. And it was not in his character. The score was completed on November 5 of the same year, 1841, in Meudon. And The Flying Dutchman was first staged on January 2, 1843 in Dresden. Thus began the long and difficult stage history of this opera, which ended with the conquest of all the best stages in the world.

Poorly known facts

However, besides this story, there was another, parallel one. After all, the Wagner script, sold for 500 francs, did not remain idle. The director of the Opera immediately handed it over to librettists Paul Fouche and Bénédict-Henri Revual. They wrote the libretto quite quickly, and they made some (very significant) changes to the Wagnerian plot, which was generally preserved, which will be discussed below. The music was commissioned from composer Pierre-Louis Ditch. Before, Ditch had never written operas, but composed mainly sacred music, but he was the main choirmaster of the theater and great friend director Piye. On November 9, 1842, the opera “The Ghost Ship or the Damned Sailor” was staged at the Paris Opera. It was not a great success and left the stage after eleven performances (which, however, is not so little). Ironically, the last performance of The Ghost Ship took place in January 1843, just as Wagner’s The Flying Dutchman was beginning its life in Dresden. Judging by the remaining evidence, the reason for this failure was not Ditsch’s music, but the fact that the Opera’s management decided to save money on the production, and the decoration of the performance turned out to be very modest, if not wretched. What angered the audience most of all was that the “ship” stated in the title was never shown on stage.

Criticism, on the contrary, was generally favorable. “Mr. Ditsch's music is marked by skill and knowledge of the highest standard, has the aroma of sophistication and good taste. The characters are brightly colorful. A melancholy and airy cantilena alternates with energetic choral scenes,” one reviewer wrote on the fresh tracks. He was echoed by another: “Mr. Ditch coped with the task with talent, without betraying his own musical specificity. Both the rich instrumentation of the opera and its melodies bear a certain stamp of religiosity, ideally corresponding to the harsh vicissitudes of the plot.”

After Mark Minkowski performed and recorded the “exhumed” “Ghost Ship,” French criticism, already in the 21st century, greeted Ditch’s creation with no less enthusiasm. “This score would undoubtedly have had a different fate if it had not been eclipsed so early by a similar score by Wagner,” writes Diapason, the oldest and most prestigious music magazine France.

Be that as it may, disappointed by the cold reception of the public, Ditch did not take on composing operas again. Thus, The Ghost Ship remained his only opera. Listening to Minkowski's recording, I really want to regret this. For if we take a closer look at Ditch, we will see that behind this name lies not a protégé of the director of the Paris Opera who turned up by chance, but a great and serious musician, although now almost forgotten.

What kind of Ditch?

Pierre-Louis Dietsch was born in 1808 in Dijon. His father was engaged in making stockings and was from the German town of Apolda, located not far from Leipzig, that is... almost a fellow countryman of Richard Wagner! Basics musical literacy the future composer mastered it in the children's choir of the Dijon Cathedral. The boy's outstanding abilities were noticed by the famous teacher Alexandre-Etienne Choron, who inspired young Ditch to enter the Paris Conservatory, where he graduated as a double bassist. For some time, Ditsch was the double bass accompanist in the orchestra of the Italian Opera in Paris - in other words, he had the opportunity to thoroughly study the entire magnificent repertoire of the Italians. But his soul asked otherwise, and he got a job as a bandmaster and organist in the Parisian Church of Saints Paul and Louis, and then moved in this capacity several times from one capital church to another. At the same time, he began to compose sacred music. His most famous work is AveMaria– is still included in anthologies from time to time. The Great Easter Mass, first performed in 1838, brought Dietsch many awards and won the praise of Berlioz. And in 1856 Ditch was awarded the Order of the Legion of Honor for his spiritual writings.

When Louis Niedermeer founded his famous School of Church and Classical Music in Paris in 1853, Dietsch became one of its co-founders. Until the end of his life, he taught harmony and composition there, and after Niedermeer’s death he served as director for some time. Graduates of this school were Camille Saint-Saëns, Gabriel Fauré and Andre Messager.

The story of Ditch’s relationship with the Opera did not end with the failure of “Ghost Ship”. It even started a couple of years before. Back in 1840, having barely taken the position of director, Pillet appointed Ditsch as the chief choirmaster of the theater instead of Fromental Halévy. Ditsch remained in this post even after Pillet left, and in 1860 he took over the post of chief conductor. Here they are with Wagner life paths crossed paths for the second time. It was Ditch who conducted the infamous first Paris production of Tannhäuser! Wagner wanted to take the helm himself, but Ditsch, being the chief conductor, did not allow this. And Wagner blamed Ditch for the fact that “Tannhäuser” failed miserably, recalling to him the “theft” of the plot of “The Flying Dutchman.”

For some reason, Paris, in fact, resisted the charm of Wagner's music longer than other European capitals. The Flying Dutchman was first staged here only in 1897, and then not at the Opera, for which it was once intended, but at the Opera-Comique.

It was not only Wagner who expressed dissatisfaction with Dich. In 1863, right in the middle of the rehearsal of “Sicilian Vespers,” Ditsch had such a heated quarrel with Giuseppe Verdi that he was forced to resign. This harsh measure greatly crippled the musician and is believed to hastened his death. Pierre-Louis Ditch died in Paris on February 20, 1865.

The opera is brilliant...

Before continuing the story about Ditch's opera, I will say a few words about Minkowski's new entry"The Flying Dutchman" by Wagner. True to his love for historical research, Minkowski took on the very first edition of the opera - the so-called “Medon Manuscript”. Here “The Flying Dutchman” is not yet divided into three acts, as later, but is one-act. And the action here takes place not in Norway, as in the Dresden edition, but in Scotland, and the names of some characters are also different: instead of the usual Daland - Donald, instead of Eric - Georg.

This approach of unearthing and executing early, not final, editions will always generate discussions. On the one hand, bringing out for public display something that the author himself rejected may seem like disrespect for his will and, accordingly, not entirely ethical. But on the other hand, subsequent changes are often dictated by pragmatic considerations and adaptation to the specific requirements or capabilities of a particular scene. It was for this reason, for example, that Wagner was forced to divide his “Dutchman” into three acts. However, “divide” is a bad word. Rather, cut him alive. So there can be no universal recipes or rules here. The only criterion in each specific case is the final result.

And Minkowski’s result turned out excellent! True, the majority of critics responded to his recording of “The Dutchman” with restrained negative feedback. And they can be understood: after all, the discography of this opera is already very extensive, and new recordings are much more pleasant and reliable to criticize than old ones, time-tested and made by legendary performers. But since I have never been a critic, I can say without any embarrassment: Minkowski’s recording may well compete with textbook performances, being quite comparable to them in level and at the same time unlike anything else, one of a kind. The Musicians of the Louvre orchestra, armed as usual with “historical” instruments, sounds soft and transparent. There is no trace of any “Wagnerian” roar. In the “airy” sound of the orchestra, all the nuances of Wagner’s original orchestration, later somewhat “smoothed” by him, seem quite convincing. In other words, Minkowski here continues the line of “depathosization” and humanization of Wagner’s scores, which can be traced, for example, in the interpretations of Herbert von Karajan or in “Tristan” by Carlos Kleiber.

The soloists are also a delight. And right away, starting with Bernhard Richter, whose sonorous lyric tenor became a real highlight of this recording. I am ready to listen to the Helmsman’s song endlessly, performed by him.

Our compatriot Evgeniy Nikitin stood out in the Dutchman's game. The voice is beautiful, insinuating, imposing. His hero does not so much suffer as revel in his suffering. At first glance, it is controversial and subjective. And yet, in big picture fits in very organically. Suffice it to recall the plot of this opera, which always seemed to me superhuman to the point of inhumanity or, if you like, to the point of idiocy. After all, the Dutchman does not love anyone, including Senta. He demands for himself complete self-sacrifice, unconditional adoration and unconditional obedience for the only good reason that he is the main character of Wagner's opera. Having the opportunity to go on land for only one day every seven years, he, nevertheless, is seriously surprised and indignant that not one of the women he met fell in love with him for the rest of his life. From these failures on the personal front, a far-reaching conclusion is drawn that there is no truth on earth, and all women are you know who. And only a huge sacrifice can break this prejudice. This philosophy of a complex teenager can, if desired, be traced throughout Wagner’s work, but in the operas of his first mature period (The Dutchman, Tannhäuser, Lohengrin) it appears in all its undisguised naivety.

In a word, Nikitin is a very, very interesting Dutchman. Probably one of the most outstanding today. It’s good that he made this studio recording, and even with worthy partners. And it’s a pity that the crushing biological (but hardly spiritual) descendants of Wagner, in a fit of political hypocrisy, did not allow Nikitin into Bayreuth. However, so much the worse for them and for Bayreuth.

It is impossible to resist the charm of the Swedish singer Ingela Bimberg in her signature role of Senta. It is worth listening to the famous ballad, where already in the initial Johohoe! Johohohoe! the whole image is laid “like an oak in an acorn.” Here there is doom, and vague languor, and a passionate call.

If bass Mika Cares and tenor Eric Cutler do not open the Americas in the roles of Donald and Georg, then they certainly do not spoil the impression and do not reduce the overall high level. In short, an excellent recording. It can be equally recommended to both beginners who are getting acquainted with the work for the first time and to jaded aesthetes. And Mark Minkowski deserves to be counted among the galaxy of truly Wagnerian conductors who animate not only music, but also drama. The finale of this recording, bursting with passion, confirms this.

And the opera is "well done"

But the main surprise of this publication was not Wagner.

The librettists of The Ghost Ship, Fouché and Revoil, used Wagner's summary to create a "well-made play" in french style. The romantic atmosphere was somewhat enhanced by making the Shetland Islands the setting, and the main character was named Troilus, and for some reason he became a Swede instead of a Dutchman.

Other plot changes were more serious. If Wagner's Dutchman is a kind of sea Ahasfer, who appeared from the bottomless depths of time (the listener is free to decide how ancient), then Ditsch's Troilus was cursed within the memory of living people (I estimated from indirect evidence: about years ago 18 before the events taking place in the opera begin). In other words, the story lost the multidimensionality of the myth - it flattened out, became more concrete, more tangible, and the main character turned from a superhuman symbol into an almost ordinary and not yet old man.

The main character of the opera here is called Minna - just like Wagner’s first wife! She also sings a ballad, like Senta, but agrees to marry Troilus not at all because of a painful obsession, but to fulfill the will of her father, whom Troilus saved from death during a storm. The line with her unlucky admirer, Magnus, is worked out much more carefully by Ditch than by Wagner. As we remember, Wagner cared little about the fate of Georg/Eric. His image was, as it were, a “by-product” of the story being told and remained “overboard.” But the French cannot do this to lovers, even unlucky ones. This would disrupt the overall harmony, and the play would no longer be “well done.” Therefore, Magnus, reluctantly, himself approves of Minna’s choice and, in sadness, retires to the monastery. Moreover, his plot connection with the main character is much stronger and is not limited to just rivalry for Minna: Troilus once killed his father.

I won’t retell all the nuances of the plot differences. Frankly speaking, the plot of Ditch's opera is stupid. But, if we put aside prejudices and authorities, we will have to admit that it is still less stupid than Wagner’s opera: more thoughtful, more exciting and less predictable.

As for the music of “Ghost Ship,” it immediately attracts not only the obvious skill of the author, but also his ambitions. Without showing the slightest timidity of a newcomer, Ditch immediately set his sights on something serious. Of course, his music is not as innovative as Wagner’s: the structure of the opera is a traditional “number piece”, and the style is reminiscent of Meyerbeer, Auber, Boieldieu, and the great Italians. Nevertheless, Ditch guides his “Ship” with the confident hand of a professional, and in the most successful places in the score one can feel real, genuine inspiration.

Despite the short duration of "Ghost Ship", each of the two acts of the opera is preceded by an extensive orchestral introduction. Common feature these introductions is the presence of a lyrical theme, in each case its own, presented by cellos. Both of these “cello” themes turn out to be connected with the image of Troilus. In other words, Ditch thus pre-paints for us a gloomy, melancholic, highly romantic portrait of the main character. As an example, listen to the overture to the first act.

Of course, it is difficult to judge the opera as a whole based on a set of excerpts. However, I'll give you a few more here. musical examples for reference. Here, for example, is the duet of Minna and Magnus. This scene is not in Wagner's opera. Even before the mysterious cursed sailor appears, Magnus proposes to Minna, and she accepts. As you can see, Dich’s love conflict is sharpened to the limit. The outstanding British singer Sally Matthews and Bernard Richter, already mentioned here, sing superbly. Except that the tenor wasn’t too successful with the first of the two upper Ds. But, in my opinion, when it comes to such “extreme”, the singer has the right to count on some leniency.

One of the most highlights Ditch's opera is, it seems to me, a scene of a sailors' competition. The Shetlanders offer the Swedes a drink, and they pour them their infernal wine, and then a singing competition begins. First, the simple battle song of the Shetlanders, then the rollicking, infernal one of the Swedes, and then both are united in counterpoint. The competition ends with the flight of ordinary Scottish guys.

In the last few bars of the above track, the voice of the main character is heard calling his violent subordinates to order. His role is performed by Canadian Russell Brown. And he transforms into the image of Troilus with greater dedication than others into Wagner’s Dutchman.

The central scene of both operas, and this is their dramatic similarity, is the duet of the main characters. The nature of the stage conflict is different: Troilus comes to Minna to inform him that there will be no wedding, since he has fallen in love with her and cannot accept such a sacrifice. (How different this is from Wagner’s self-satisfied Sollt"ich Unseliger sie Liebe nennen? Ach nein!– In Russian translation: “Do I really dare to call that dark heat that burns inside me again, love? Oh no! That thirst is only to find peace - What such an angel promises me"). Minna, however, is ready to make sacrifices, and the voices of lovers unite in a melody filled with desperate determination.

I find all this interesting and convincing. Other undeniable beauties of “The Ghost Ship” include the solemn finale of the first act, the majestic choir of monks, as well as several wonderful arias that vividly depict the characters’ personalities (first of all, I would like to remember Minna’s cavatina against the backdrop of a thunderstorm, turning into a dizzying cabaletta).

In addition, Ditch’s opera already makes full use of such a technique as leitmotifs. And it ends with an apotheosis, where the souls of the main characters are carried away into heaven to the sounds of the harp, that is, exactly as it happens... in the final edition of Wagner’s “The Flying Dutchman.” Here Ditch was ahead of Wagner, because the Meudon manuscript ends abruptly and without any sentimentality - with the suicide of Senta. And there are simply no harps in the orchestration of the first edition.

In general, listening to both of these operas in a row, you come to the unexpected conclusion that in any case formal Opera Dicha criterion better Wagner's operas! It is more interesting in plot, melodically richer, vocally more diverse...

But when you listen to Wagner’s “The Flying Dutchman,” you hear the piercing sea wind howling in the dilapidated gear, you smell rotten seaweed and taste salty sea spray. And when you listen to “Ghost Ship,” what comes to mind are boxes upholstered in dusty velvet, gilded stucco and huge chandeliers.

And again these eternal questions arise. What is a genius? In what units is it measured? Which algebra should I use? And, most importantly, how to recognize it without waiting for two hundred years?

All this, however, is not said to offend Dich. In my opinion, his opera is not bad at all, and deserves to be not only recorded, but also staged. In the meantime, I warmly recommend this four-disc set to all my readers. It is quite possible that you, like me, will enjoy it greatly. Well, at the very least, this is extremely interesting.

The anniversary recording of twin operas carried out by Minkowski involuntarily makes one think about other questions, this time from the field of alternative history. What would have happened if Pillet had not rejected Wagner’s “The Flying Dutchman” but had opened his way to the Parisian stage? What if, without a doubt, this Frenchized “Dutchman” had been a success? How would this affect the future fate of Wagner? What about the history of French opera? What about the history of world opera?

What would have happened if the same Pillet had not skimped on the scenery for “Ghost Ship” and Ditch’s first opera had been received somewhat more favorably by the public? What would happen if the composer, inspired by this success, wrote several more operas? No matter what composer’s work, the first opera rarely turns out to be his main masterpiece. If we compare only the very first opuses, then Pierre-Louis Ditch will give odds to very, very many. So have we lost an outstanding opera composer in him?

It's interesting to live in this world, gentlemen!

), staged by Richard Wagner in 1843 in Dresden, marked the acquisition of Wagner's individual style. The opera did not immediately gain recognition. Its productions, following the Dresden one, in Berlin and Kassel (1844) did not bring success. Only after Wagner gained world fame was “The Dutchman” adequately appreciated.

In The Flying Dutchman, Wagner first introduced leitmotifs that associate characters or themes. From this opera, Wagner began to define himself as an established poet. Beautiful music, recitative melodies, choirs, arias, and duets tell the story of the Flying Dutchman, a ship captain who is sentenced to sail the seas forever until he is saved by a loving and faithful woman. Salvation through love - central theme opera, a theme to which Wagner returned in most of his subsequent works. The very idea of ​​an opera about the Flying Dutchman matured in Wagner thanks to his dangerous sea voyage from Riga to London, in which the ship was caught in a storm near Norway, and was written on the basis of folk legends and novels about a wandering sailor.

Characters

Dutchman - baritone
Daland, Norwegian sailor - bass
Senta, daughter of Daland - soprano
Eric, the young hunter - tenor
Mary, Senta's teacher - mezzo-soprano
Helmsman Dalanda - tenor
Norwegian sailors, Dutch team, girls.

A beautiful and memorable overture conveys the main idea of ​​the work due to the presence of all the leitmotifs of the opera. At first, the Dutchman’s menacing cry is heard from the horns and bassoons; the music vividly paints a picture of a stormy sea; then the bright, melodious melody of Senta sounds at the cor anglais, accompanied by wind instruments; at the end of the overture it acquires an enthusiastic, ecstatic character, heralding the redemption and salvation of the hero.

Act one

Around 1650. Off the coast of Norway, on the way home, Captain Daland is forced to find shelter in a bay due to stormy weather. He leaves the helmsman on guard, and he goes to the cabin; the sailors go down to the lower deck to rest. The helmsman sings a song about meeting his beloved soon and soon falls asleep from fatigue. A ghostly ship with blood-red sails and black masts appears nearby and quickly approaches. Standing opposite Daland's ship, the ghost ship lowers its anchor with a terrible roar; invisible hands lower the sails. A man with a pale face outlined by a thin black beard, wearing a black Spanish cloak, steps ashore. He moans about his fate. Having broken his word, the ghost captain is sentenced to wander the seas until the day of judgment. Once an angel brought him the conditions of salvation: once every seven years the waves throw him ashore, and if he finds a wife who is faithful to him, he will be saved. The captain's aria is a gloomy monologue, permeated with restrained sorrow and a passionate dream of peace.

Libretto with interlinear prose translation from

RICHARD WAGNER
FLYING DUTCHMAN
Opera in three acts
Libretto by R. Wagner
(Translation by Yu. Polezhaeva)

Characters

Daland, Norwegian sailor (bass)
Senta, his daughter (soprano)
Dutchman(baritone)
Eric, hunter (tenor)
Steering Dalanda (tenor)
Marie, Senta's nurse (mezzo-soprano)
The action takes place in a Norwegian fishing village in the 17th century.

Flying Dutchman. Translation by Polezhaeva. Act 1

Flying Dutchman

RICHARD WAGNER
FLYING DUTCHMAN
Opera in three acts

Libretto by R. Wagner
(Translation by Yu. Polezhaeva)

ACT ONE

(Rocky coast. Most of the scene is occupied by the sea; a wide perspective opens up. The weather is stormy - a strong storm. Daland's ship has just anchored off the coast, the sailors are noisily busy at work - furling sails, removing ropes, etc. Daland went ashore; he climbed the cliff to try to get to know the area.)

SAILORS
Hoyohe! Halloho! Hoyohe! Ho!..

DALAND
(going down the cliff)
Well, exactly! Seven miles ahead
The storm carried us away from the entrance to the port.
Our journey was almost complete

Our journey was almost complete
but as a cruel joke it has been extended for us!

STEERING
(shouting through cupped hands from the side of the ship)
Ho! Captain!

DALAND
Are things okay there?

STEERING
Yes captain! Holds the soil securely!

DALAND
I now recognize Sandvik Bay.
Damn it! I already saw a house on the shore,
I thought I was about to hug my daughter Senta;
Suddenly, as if from hell, a storm was brought!

Rumor does not lie: Satan rules the wind!
Satan rules the wind!

(Goes to the ship.)
Well? Be patient! Such a strong storm
cannot be extended for long.
Hey guys! You can rest:
no harm here! It's been a long journey!

(The sailors go down.)
Well, helmsman, will you take over the watch from me?
It's calm here, but it's better to keep an eye on it.

STEERING
I'll keep an eye on it! Don't be afraid, captain!
(Dahland goes to his cabin. The helmsman is left alone on deck.)

Through the storm and storm of foreign seas
I will come to my beloved!

I will find the way to my beloved!
Baby, if it weren't for the southwest,
I would hardly have come!

To my beloved who is waiting for me!
Hohoyo! Hallohoho!

(A large wave shakes the ship violently.)
On the sea shores near the formidable cliffs
I thought about you,
In the stormy southern seas I mined
gifts for you.
Baby, praise the southwest
and try on the ribbon quickly.
Ah, dear southwest, veil stronger -
a trinket after her heart.
Ho, ho...

(He struggles with fatigue and finally falls asleep. The Flying Dutchman's ship quickly approaches the coast opposite the Norwegian ship and drops anchor with a loud splash. The helmsman, with a start, wakes up and begins his song again.)
Baby, if it weren't for the southwest...

(Then he falls asleep again. The Dutchman goes ashore.)

DUTCHMAN
Seven years have passed
and inevitably my time came again.
I will be thrown ashore again by the sea.
Ha, proud ocean!
Don't wait long, you'll see me soon!
Your temper is changeable
but my punishment is eternal!
I'm looking for peace in vain here -
there is no escape for me!
Yours, the currents of the sea, I will be yours,
until the waves last water
will not run out in you forever.

More than once I threw myself to the bottom,
in thirst to perish there forever -
but, oh, I couldn’t find death!
Where the grave awaits between the rocks,
threw his ship onto the rocks -
but, oh, I can’t even go into the crypt!
I mocked the pirate,
in battle I sought my death.
“Hey,” I called, “where’s your team?
There are countless treasures here!”
But, ah, and the wild son of the seas
ran, crossing myself, my hands.
More than once I threw myself to the bottom,
in thirst to perish there forever.
Where death awaits between the rocks,
I directed the brig towards the stones.
I have no coffin! Death is a refusal!

The curse of an evil order is terrible!

Tell me, most bright angel of God,


when did I find hope again?
Tell me, most bright angel of God,
that he found a way of salvation for me -
you just laughed at me, maybe
when did I find hope again?
Hopes are in vain! Just vain nonsense!
Any loyalty is weak - it is not eternal!

Only one light still shines for me,
I see only one hope:
the earth may remain in color for a long time,
but, like everything else, it’s doomed!
God's Day of Judgment! Terrible Gift!
Will you soon dispel my night?
When the blow thunders,
with which the world will disappear away?
When all the dead are called,
when all the dead are called -
and they will let me go into nothingness,
and they will let me go into nothingness.
When all the dead are called -
and they will let me go into nothingness,
they will let you leave.
With the worlds that will end their journey,
Let me go into eternal chaos!

DUTCHMAN'S TEAM
(from the hold)
Let us go into eternal chaos!

(Dahland goes out on deck and notices the Dutchman's ship.)

DALAND
Hey! Boy! Where are you?

STEERING
(half-awake)
I'm here! I'm here!
Ah, dear southwest, veil stronger, beloved...

DALAND
Are you sleeping?
Well, you're doing a great job!
There's a ship over there!
How long have you been dozing here?

STEERING
Damn it! Forgive me, captain!
(Takes a megaphone and calls out to the Dutchman’s crew.)
Hey there! Hey there?

DALAND
Apparently, they sleep there too, like us.

STEERING
Answer! What kind of ship?

DALAND
Wait! Looks like the captain over there!
Hey! Listen! Wanderer! Who are you? Where?

DUTCHMAN
From afar.
Don't you mind in a storm
did I stay here?

DALAND
Oh my God!
The sea teaches us friendship!
Well who are you?

DUTCHMAN
Dutchman.

DALAND
(Joins the Dutchman on the shore.)
Hello!
Did the storm drive you here, like us, to this shore?
And it’s not easier for me - it’s very close here
my home, my native haven.
We had to, almost reaching it, suddenly turn around.
Where, tell me, have you been? Are there any breakdowns on the vessel?

DUTCHMAN
My brig is strong,
and there is no damage to it.

Storms accompany me
I am driven by the wind across the seas.
How long? I don't count the years
and I haven’t known myself for a long time.
No one in the world could count
all the lands that have been discovered by me,

the one I was looking for, where my home is,
but I didn’t meet only one land -
the one I was looking for, where my home is.

For a short time, welcome me into your home -
and you won't regret it.
Treasures of all seas and continents
there are quite a few in my holds. You do not mind?
WITH great success you can trade.

DALAND
How good! But can I believe?
Evil fate seems to be pursuing you.
I'm ready to be useful in any way I can, but...
Won't I ask, won't I ask -
what product is there?

DUTCHMAN
You will see my treasures for yourself -
pearls and expensive stones.
(He signals to his team, two of them carry the chest ashore.)
Take a look and you will see that the price is worth it
I am ready to pay for good shelter.

DALAND
What? Is it possible? What a value!
Who is so rich that he will pay for this?

DUTCHMAN
Who will give it? But I just said:
I'm waiting for shelter for just one night!
But you see only an insignificant part
good as my holds are full.
What's the use of it?
After all, there is no wife and no children,
and I have no homeland anywhere!
I'll give you everything I have
If I find a family and a home, I’m new here.

DALAND
Am I right?

DUTCHMAN
Is there a girl in the family?

DALAND
Yes, yes, my own daughter.

DUTCHMAN
I'll marry her!

DALAND
(About myself)
What do I hear? Will he marry his daughter?
He himself proposed marriage!
But I'm afraid he'll back down
if I hesitate to decide.

Would you like to know if this is reality or am I dreaming?
I'm unlikely to find a better son-in-law.
I'm a fool if I miss the chance!
With delight, as if delirious!

DUTCHMAN
Ah, there is no one on earth anymore,
who would be waiting for me as a friend!
Hello, I only know evil fate,
Trouble is my friend.

Homeless, I'm running around the sea.
Why should I have wealth?
If only you would approve of this marriage -
oh, then you can take everything!

DALAND
Yes, wanderer, my daughter is a joy to her father -
She, loving me, obeys me.
I'm proud of her, she's my wealth

in trouble there is joy and in good fortune there is light.

DUTCHMAN
When she loves her father so truly,
then you should be faithful to your spouse.

DALAND
You give stones, precious pearls,
but there is nothing more precious than a devoted wife.

DUTCHMAN
Will you give it to me?

DALAND
I will give you my word.
I feel sorry for you: you generously proved
How noble and high your spirit is.
I'm glad to have such a son-in-law -
even if you weren't so rich,
I wouldn't look for another.

DUTCHMAN
I'm glad!
Will I meet her today?

DALAND
With a fair wind we will get there quickly.
You will see your daughter, and if you love...

DUTCHMAN
... to be mine!
(to the side)
Isn't it my angel in her?

DUTCHMAN
(About myself)
In a thirst to escape terrible torment,
trying to find salvation,
I can give it to myself in vain
to find hope again?
Will I dare to believe again?
that the angel wanted to take pity?
Will I achieve my desired goal?
Will I find a limit to the torment?

Oh, I'm left without hope
but again I give in to hope.

DALAND
(About myself)
Praise be to you, that terrible wind,
that forced you to come here!
He brought me a wonderful gift,
you really can’t find anything better!

I bless this shore
and the storm that drove us here!
Yes, everyone strives for this goal -
the rich son-in-law gave me his word.

To the one who is so good, I swear
I'm not afraid to bring you into my house.

STEERING
Southwest! Southwest!

SAILORS
Halloho!

STEERING
Oh, dear southwest, blow harder!

SAILORS
Halloho!

DALAND
(to the Dutchman)
Well, luck is good to us -
fair wind, the storm is over.
It's time to weigh anchor
and we'll come home quickly.

COLLECTOR AND SAILORS
Hoho!

DUTCHMAN
(to Daland)
I ask you to go out first.
Although the wind is fresh, my crew is tired.
I'll let them rest and follow them.

DALAND
But the wind is ours!

DUTCHMAN
It will last a long time!
My ship is fast, we will quickly catch up with you.

DALAND
Yah? If so, then fine, so be it!
Be there! Today you will meet my daughter.

DUTCHMAN
Oh yeah!

DALAND
(boarding the ship)
Hey! It's time to raise the sails!
Hallo! Hallo!
Well, guys, come on!

SAILORS
Through the storm and storm of foreign seas
I will come to my beloved! Hooray!
Above the high wave from the southern places
I will find the way to my beloved! Hooray!
Baby, if it weren't for the southwest,
I would hardly have come!
Ah, dear southwest, veil stronger -
To my beloved who is waiting for me!
Ho ho! Yohoho!

Flying Dutchman. Translation by Polezhaeva. Act 2

Flying Dutchman

ACT TWO
(A large room in Daland's house; on the walls there are paintings with maritime scenes, maps, etc. On the back wall hangs a portrait of a man with a pale face and a dark beard, in black clothes. Marie and the girls are sitting around the stove and spinning. Senta, leaning back in chair and folds his hands, dreamily contemplating the portrait on the wall.)

GIRLS

work more cheerfully, more vigorously.
Pull-pull-pull, tight thread,
You wheel, spin.

My darling walks the seas,
But his heart is always with me.
Ah, be obedient to the wind,
I wish I had brought him home a long time ago.
I wish I had brought him home a long time ago.

For us, for us, for us - more yarn.
Noise! Noise! The thread is thinner!
Tra la ra la...

MARIE
(About myself)
How diligently they are in a hurry to work!
Everyone dreams of achieving love.

GIRLS
Frau Marie, stop!
Don't you know that it's better not to disturb the song!
Yes, know that it’s better not to interfere with the song!

MARIE
Everyone should sing! But let the spinning wheel knock!
But why, Senta, are you silent?

GIRLS
Shumm-shum-mi, spin the spinning wheel,
work more cheerfully, more vigorously.
Pull-pull-pull, tight thread,
You wheel, spin.

My darling was in the South Sea
And he mined a lot of gold.
Only the one who wants to give it,
What a good spinner!
What a good spinner!

For us, for us, for us - more yarn.
Noise! Noise! The thread is thinner!
Tra la ra la...

MARIE
(to Senta)
Ah well? Well! Since you don't spin,
You are waiting in vain for a gift.

GIRLS
There is no need for her to rush:
her beloved is not a sailor.
He only brings game as a gift -
The huntsmen give you a bad brew! Ha ha ha ha...
(Sente quietly sings the melody from an old ballad)
MARIE
Look! Always in front of him!
(to Senta)
Sighing silently over the portrait,
Do you want to daydream throughout your youth?

SENTA
You shouldn't have told me who it is.
Oh, how can you not sympathize with him!
He's unhappy!

MARIE
The Lord is with you!

GIRLS
Oops! Oops! What a rumor!
The poor thing is in love with the portrait!

MARIE
It's time to lose your head!

GIRLS
Sometimes painting is harmful!

MARIE
What's the use of grumbling every day!
Well, Senta, stop being silent!

GIRLS
She has no time for us - she is full of love!
Oh oh! We don't need a quarrel!
Eric's blood is hot -
he will break the woods with his shoulder.
Shut up! Will shoot without guilt
his opponent is off the wall.
Ha ha ha ha...

SENTA
That's it! I'm tired of jokes!
I'm actually going to be angry!

GIRLS
Shumm-shum-mi, spin the spinning wheel,
work more cheerfully, more vigorously.
Pull-pull-pull, tight thread,
You wheel, spin.

SENTA
Oh, not this nonsense first -
all "shumm-shumm-mit", ringing in my ears!
Find me not to be silent,
something better for me.

GIRLS
So sing it yourself!

SENTA
Here's what we need:
Frau Marie will sing us a ballad.

MARIE
God forbid! What more!
Don't disturb the Flying Dutchman!

SENTA
You often sang it to me!

MARIE
God forbid! What more!

SENTA
I'll sing for you! So listen!
Fate calls to his hearts -
it must touch you, I know.

GIRLS
We will understand everything.

SENTA
There are words of power!

GIRLS
And let's relax!

MARIE
(angrily)
I will spin!

SENTA

Yo ho ho he! Yo ho ho he! Yo ho ho he! Yo ho he!
In the seas sometimes they meet a brig -
the spar is black, the sail is gaffs.
Doesn't close his eyes for a moment
the skipper is there, pale and stern.
Oui! Only storms roar! - Yo ho he! Yo ho he!
Oui! Only the wind whistles! - Yo ho he! Yo ho he!
Oui! Like an arrow he flies
without hope of reaching, without end!

But for him there is still an opportunity to escape,
if there is a wife who will be faithful until death.
Oh! Where will the pale sailor find deliverance?

He rounded the distant cape,
and then he walked against the storm.
With a curse there he took an oath,
that will never give up!
Oui! The Enemy heard! Yo ho he! Yo ho he!
Oui! Caught him! Yo ho he! Yo ho he!
Oui! And since then I've been doomed
he walks through the storm without end!

But salvation is still possible for him on earth,
as he said when the angel of God once appeared before him.
Oh! Will the sailor find deliverance?
May heaven help him find fidelity!
(The girls are deeply touched and quietly sing along to the chorus)
Ashore every seven years
he goes to find a wife.
And a wedding every seven years,
but he could not find the right one.
Oui! "Set the sails!" Yo ho he! Yo ho he!
Oui! "Give up the moorings!" Yo ho he! Yo ho he!
Oui! "There is no love, faith lies!
Back to sea forward, endlessly!"

GIRLS
Oh, where is the one whom that angel noted for you?
Where is she that will be faithful to you only until death?

SENTA
I am the one whose loyalty will give you salvation,
Could an angel trust me with this!
With my hand you will receive peace!

MARIE AND THE GIRLS
Oh my God! Senta! Senta!

ERIC
(As he entered, he heard last words Senty.)
Senta, you will destroy me!

GIRLS
To us, Eric, to us! She's gone crazy!

MARIE
All the blood has curdled from horror!
Finally remove the painting
your father hasn't seen it yet!

ERIC
It's entering port!

SENTA
Is it coming into port?

ERIC
I saw him from the rocks.

GIRLS
They came! They came!

MARIE
This is the result of your jokes!
Nothing is ready here!

GIRLS
They came! Let's run now!

MARIE
Stop! Stop! There's something here for you!

A hungry team will come -
We need to serve it on time!
You need to tame your curiosity -
A woman's duty is above all!

GIRLS
(at random)
Oh, I have so much to ask!
Ah, curiosity is not a vice!
Well! We will be glad to freedom,
when the duty is fulfilled!

(Marie takes the girls out of the room and follows them herself. Senta is also about to leave, but Eric detains her.)

ERIC
Stop, Senta! Stop alone for a moment!
Stop my torment!
Or do you want - ah! -Are you going to kill me?

SENTA
What you...? About what...?

ERIC
Oh, Senta, tell me, should I wait?
Your father is here, and before you sail,
he already intends to fulfill what he wanted.

SENTA
How's that? And what?

ERIC
He will marry his daughter!

Only a heart full of love
the hunter can offer.
Can I dream of being with you?
But can I live without you?

Who, Senta, is talking about me?
What if your father refuses me -
What if your father refuses me -
Who, Senta, is talking about me?

SENTA
Oh, Eric, not now!
First I must bow to my father.
When my daughter doesn’t come ashore,
he may get angry
he may get angry.

ERIC
Are you running away?

SENTA
I have to go to the port.

ERIC
You're hiding your eyes! ...

SENTA
Oh, let me pass!

ERIC
You don't want to see this wound
that the mirage of love brought me -
but at this hour I will ask directly,
I'll ask a question for the last time.
If failure awaits me here,
will you, Senta, for me?
If failure awaits me here,
if failure awaits me here -
So, Senta, who are you for me?

SENTA
How? Do you have doubts about me?
Don't you believe my heart?
What aroused suspicions?
Why are you suffering like this?

ERIC
Your father - ah! - He only craves money...
And can I rely on you?
Have you agreed to at least one of my requests?
You tear my heart out every day!

SENTA
Am I vomiting?

ERIC
What should I think? That portrait...

SENTA
Portrait?

ERIC
Can you forget dreams about him?

SENTA
But can compassion be forbidden to me?

ERIC
And that ballad - you sang again!

SENTA
I’m like a child, I sing whatever comes my way.
Tell me, what is so scary about the song and the portrait?

ERIC
You're so pale...
Can I not be afraid?

SENTA
Or am I not allowed to sympathize with suffering?

ERIC
Don't you see, Senta, you're completely mine?

SENTA
Oh, don't boast! How can you suffer?
Do you know how unhappy he is?
Do you see the sorrow with which
Is he looking at us so bitterly?
Oh, he will never find peace -
how it hurts my heart to know this!
how it hurts my heart to know this!

ERIC
Alas! I remembered my fatal dream!
God save me! You are in the bonds of Satan!

SENTA
What are you scared of?

ERIC
Senta! I had a dream! Listen!
He can be prophetic!

I dreamed, on a huge rock
I lay above the stormy sea.
The surf, I heard, is furious
the power of the wave was thrown onto the shore.
Someone else's ship was in the roadstead -
kind of strange, not alive.
Two sailors went ashore.
One - I knew - the father was yours!
DALAND
Child, your father is on the threshold.
How? No hugs? No meeting?
Are you standing in some kind of anxiety -
Is this you, Senta, waiting for hello?

SENTA
God is with you!
Father, tell me - who is this wanderer?

DALAND
(smiling)
Are you in such a hurry?

Baby, welcome the stranger into this house.
He, like me, is a sailor - and he wants to be a guest.
For a long time he wandered homelessly around the world,
I was able to obtain a lot of treasures in distant lands.
The one who is an exile from his native land,
will pay generously for shelter.
Are you, Senta, against the wanderer
stayed here for the night?
stayed here for the night?

(Senta gestures agreement and Daland turns to the Dutchman.)

Well, did I praise too much?
Do you see for yourself how it will fit?
No more words are needed, I guess -
admit it, she will decorate the family!
Admit it, admit it, decorate it,
will decorate every family!

(to Senta)
Baby, be kind to this man:
With all his heart he asks for your favor.
Give him your hand - he is your groom from now on.
I agree to the wedding tomorrow!
I give my consent!
Buckles, look, but the bracelets -
Just a little thing about what happened to him!
My baby, everything will be this way,
just get married, yours!

(Senta does not pay attention to him, not taking his eyes off the Dutchman. He also does not listen to Daland, looking only at the girl. Daland notices this.)

But - everyone is silent... Haven't you tired them?
Yes, yes! It's better to leave them alone.
(to Senta)
I know you can capture him.
Believe - you must catch happiness!
must catch!
(to the Dutchman)
Be alone. I'll be back later.
Believe, as sweet as you are faithful, so faithful.
Believe, both sweet and faithful,
she is true!

(He comes out slowly, looking at both of them with surprise and satisfaction.)

DUTCHMAN
(About myself)
Like a vision of days long gone,
her image appeared alive,
like the one I've been dreaming about forever,
suddenly I saw it in front of me.
How many times have I glanced out of the midnight darkness
I looked up to that dream with longing.
Hell gave me a living heart on purpose,
so that I understand the full extent of the penalty.
That dark heat that burns inside me again,
Do I really dare to call it love?
Oh no! That thirst is only to find peace -
What does this angel promise to me? ...

SENTA
(About myself)
A magical dream - or just an obsession?
Is everything I see just my delirium?
Or have I still lived in error,
and now the dawn has come?
He is in front of me - his features are disturbing,
the face speaks of terrible sorrow.
The voice of compassion cannot lie to me -
exactly as I dreamed, he is standing here.
The pity that burns in my chest,
Oh! That desire - am I calling it right?
He, I know, only longs to find peace -
let him find it with my hand!...

DUTCHMAN
(to Senta)
Don't you blame your father's will?
What did he promise - do you confirm?

Are you ready to entrust yourself to me forever?
Are you willing to give your hand to a wanderer?
So, after endless torment, is it possible for me
in your love I can wait for salvation
In your love, in your love, should you wait for salvation?

SENTA
Whoever you are, what is your bitter lot,
no matter what you are doomed to,
no matter what my cruel lot promises me -
I will obey my father in everything!

DUTCHMAN
So is the choice firm? What, so much participation
in someone like you, to my suffering?

SENTA
(About myself)
Oh, how you suffered! Can I give peace?

DUTCHMAN
(after hearing this)
How can sound dispel the darkness of the night!

You're just an angel whose love is holy
can justify an outcast.
If the Lord left me hope -
Only you could give salvation.

SENTA
If God left you hope -
Only I can give salvation.

DUTCHMAN
Oh! Well do you understand
What am I doomed to?
To me, if you promise loyalty,
you must make a sacrifice.
You will find a terrible lot
and you will betray your youth to fate,
if you renounce your word
and betray eternal loyalty.
and betray eternal loyalty.

SENTA
Everyone knows a woman's supreme duty -
You can, sailor, not waste words!
Let fate punish him,
who is not ready for the test!
I know hearts with purity,
How should I preserve love?
Only one who is chosen by me,
I'm faithful to death!

DUTCHMAN
High vows of this word
for my wounds - holy balm.
Know, saved, saved for a new life,
Power, darkness, Power, I am no longer your slave!

The star of my suffering goes out.
Again, hope, shine!
The angel who left me -
Give her the strength to be faithful!

SENTA
It's like my mind is under a spell
the heart is drawn to save it.
Here he will find his homeland again,
This is a safe port for a ship!

What suddenly woke up in my chest,
What could make me so drunk?
The hand of fate touched me -
so give me the strength to be faithful!

(Dahland returns.)

DALAND
Sorry! The people can't wait any longer:
We have a holiday coming up after the flight.
I would like to tell everyone the news -
What about the engagement?
(to the Dutchman)
Now do you take a wife with desire?
(to Senta)
Senta, tell me, do you give your consent?

SENTA
I'll give you my hand! There is no doubt!
I vow to be faithful!..

DUTCHMAN
Her hand is her answer!
There is no victory for you, the Force of Evil!

DALAND
You won't regret it, no!
To the table! Festive lunch here!