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Updated: June 5, 2025


A double chorus of the two crews follows. The finale is made up of sailors' and female choruses, and a trio between Senta, Daland, and the Dutchman, which are woven together with consummate skill, and make a very effective termination to the weird story.

He joins his different items, it is true, but it is impossible to avoid knowing where one leaves off and the next begins. The play opens with the raging tempest on a rocky coast; the ship of one Daland is driven there, and Daland goes ashore to see if there is any likelihood of the storm ceasing a proceeding at which any land-lubber, not to mention experienced tars, might well laugh.

The two captains meet, and Daland invites the stranger to his home. The two at last progress so rapidly in mutual favor that a marriage is agreed upon between the stranger and Senta, Daland's daughter.

The plot of the opera is very simple. A Norwegian vessel, commanded by Daland, compelled by stress of weather, enters a port not far from her destination. At the same time a mysterious vessel, with red sails and black hull, commanded by the wandering Flying Dutchman, who is destined to sail the seas without rest until he finds a maiden who will be faithful until death, puts into the same port.

She wants Mary to sing the Flying Dutchman ballad; Mary curtly refuses; "Then," rejoins Senta, for all the world like a leading lady in a melodrama giving the cue for the band to begin the royalty-song, "I'll sing it myself"; and, despite protests, she does. It recounts, of course, the story of the Dutchman prior to his meeting with Daland.

Erik, her betrothed lover, who enters to announce the approach of Daland, hears her wild words, and in vain reminds her of vows and promises made long ago.

Grant me for a short period the hospitality of your house, and you shall not rue the act of friendliness. My ship is richly laden with treasures from every region and latitude. If you will traffic with me, you may be sure of your advantage." "How wonderful!" says Daland, impressed; "Am I to take you at your word? An evil star, it would seem, has so far pursued you.

Eric rushes off in despair and horror; Senta subsides; she prays that the Dutchman may be able to find her and her father and Vanderdecken enter. She stands mazed, not greeting her father nor uttering a word, gazing at the stranger. Now Daland, I have already remarked, has noticed no resemblance between this man and the picture, and he cannot understand his daughter's silence.

The curtain rises on a rocky Norwegian fiord where a sailing-vessel has found shelter from a storm that is raging on the open sea. Daland, the skipper, has gone ashore to survey the land and to find out, if he can, whither his ship has been driven. He recognizes the spot: it is Sandwike, and the tempest has blown him "sieben Meilen" out of his course.

Here, the bargaining of Daland and Vanderdecken is a very intractable incident, and in trying to make the best of it he made the worst. That is, he would have saved us an appalling longueur had he given us two minutes of frank recitative in place of twenty minutes of make-believe music music in the very finest kapellmeister style of the period.

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