Opera Review | If you want to hear easy Wagner, go to Tampere

Opera

Tampere Opera’s new direction of Richard Wagner’s Flying Dutchman at Tampere Hall on February 10. Directed by Marika Vapaavuori, conductor Anja Bihlmaier, starring e.g. Tommi Hakala, Johanni van Oostrum and Timo Riihonen.

Tampere

Wait a minute, was Richard Wagner easy-going musical composer?

Still, for a moment it felt like the smooth premiere of the Tampere opera About the Flying Dutchman was over on Friday evening after two hours and three quarters.

This is one of Wagner’s most compact operas, and with one interval, it’s over quickly. Wagner, of course, also envisioned non-stop performances without intermissions for his three-act opera.

The only Intermission was placed smack in the middle of the second act. I would prefer a break at a more dramaturgically appropriate point after the first act.

Musically the feeling came especially Toni Haaranen of video design, after all, he has made the videos as well Anastasia– and Priscilla-to musicals. With the help of videos, the sea boils in a traditional way, and there are very traditional ones too Marjatta Kuivaston staging and Leena Rintalan costume.

Marika Vapaavuori directs an opera for the first time after a solid theater background and musical productions. He too stays on traditional lines.

In the hand-written program Vapaavuorella, there are thoughtful thoughts about the emancipatory release of the female protagonist and the connections of the story Kalevala and other myths. However, the direction itself focuses on the smooth flow of the basic story.

The same thing happened in the new one of the National Opera Turandotsin production. The handbook also had a lot of great ideas about how to tell a familiar story in a different way. And then everything was controlled as usual.

Read more: The National Opera’s Turandot is stiff and clichéd with its cherry tree imagery

No of course, surprises are always needed, especially when the National Opera had them About the Flying Dutchman recently Kaspar Holten’s modern control. But Tampere’s personal guidance doesn’t get under the skin either.

An attempt was made to increase the drama with dancers who also performed the Dutchman and Senta. In this way, some spectacular effects were obtained.

In the final scene, a small incarnation of the ghost ship, perhaps “cleansed”, was lowered into view from above the stage as a sign of the removal of the curse. It didn’t sanctify the atmosphere.

Otherwise, everything was smooth, and I had a good time. Predictably, the first-timers had an even better time if they were afraid that Wagner was something heavy and hard to understand.

Music action! The Tampere Philharmonic played Anja Bihlmaier’s intact, impressively and better than the fine orchestra of the Finnish National Opera I heard a couple of days earlier, even in the brutally loud Turandotsin the show.

The choir of the Tampere Opera was also excellent, but not at the level of the professional choir of the National Opera.

Title role Tommi Hakala I think he spared himself a bit in the opening monologue with the ghost ship deck. When he came to the front of the stage, the voice started to carry more meaningfully and the ensemble improved to the usual good level.

Hakala was recently the National Opera’s Wagner The Ring of the Nibelung -in the direction of the deliberately uncertain god Wotan, and now the take was similar.

He doesn’t have the demonic nature often associated with the Dutchman, but he beautifully embodied the insecurity a cursed sailor feels after seeking a woman’s loyalty often and in vain.

The South African cast in the role of Senta Johanni van Oostrum I recently raved about him when I heard him in Munich in the Bavarian State Opera’s new Lohengrin-directed Elsa in the same production Mika Karens with.

Read more: Munich’s Lohengrin is a celebration of song – Mika Kares received resounding applause in the role of the king

The soprano’s voice is also wonderful as Senta in this opera, who joyfully decides to save the Dutchman from his curse, even if it costs his own life.

As such, Senta’s music would still require a bit more dramatic power. As Elsa she is perfect, as Sentana not yet.

As an actress, van Oostrum excelled as Elsa of Munich, a character doubting her love and ultimately traumatized by doubt. In this guidance, a possible mental health problem is not taken out of his Senta, as often happens.

She conveys the ecstasy of a young woman freed from the tight family and village circles in accordance with the idea of ​​guidance.

Just A bass that has turned 40 years old Timo Riihonen has gone through his apprenticeship in the soloists of the Deutsche Opera am Rhein and the Kiel Opera House, and has already had freelance visits to the top houses, from the state operas in Berlin and Munich to Bayreuth and La Scala in Milan.

When the voice warmed up, Riihonen was an excellent, youthful Daland. In the role, you have to scheming so that the rich Dutchman will marry Senta for a good fee. This was expressed by Riihonen gently.

Matti Salminen the extreme solidity of the peak years is not there in the sound, but neither are others in this world. It’s worth remembering that Riihonen’s and Kares’ slightly lighter, linearly singing basses are in international demand and appreciated.

Big ones roles in Sweden Joel Annmo was not at his best in the small tenor role of coxswain. In many places there was little to be refined.

Second tenor Jussi Myllys was very good in the role of Erik’s unlucky suitor, especially in the lyrical parts of the second act. Likewise the mezzo-soprano Tiina Penttinen was reliable Mary in everything more lyrical, although she was a little overshadowed in a couple of climaxes.

All in all, I would have liked significantly more originality and touch of personal guidance. But a recommended production if you specifically want a very ordinary and even more compact and musically high-quality opera experience.

The Flying Dutchman of Tampere Opera continue after the premiere with five performances until February 25.