Der Fliegende Holländer (the Flying Dutchman)

Der fliegende Holländer is the first of Wagner's operas considered to be representative of his mature style. It embodies one of the major themes that recur throughout his work, that of a central character seeking redemption from a loving woman. Originally taken from a story by the poet Heinrich Heine, Wagner extended and enriched his musical and dramaturgical language to produce an opera of extraordinary power.
In this guide, John Warrack places the opera in the context of emerging German Romanticism, John Deathridge highlights and explores the musical riches of the score and William Vaughan reviews the importance of myth to Wagner and his contemporaries. Mike Ashman explains the particular way in which Wagner turned the Dutchman legend to his own purposes and Katherine Syer outlines certain themes of the opera in relation to its performance history. Wagner's own programme note about the overture and his instructions to performers are also included.
The present guide contains the full German libretto and English translation by Lionel Salter, thirty-one black and white and colour illustrations, a musical thematic guide, a discography, a bibliography, and DVD and website guides. It is intended to enrich and extend readers' appreciation and enjoyment of this exciting work by one of the world's greatest opera composers.
Overture Opera Guides are published in association with English National Opera.
English National Opera, based at the London Coliseum, is a creative and vibrant home for compelling, high-quality theatrical productions created by imaginative stage directors and designers from across the arts, performed by leading British and international artists.

Richard Wagner (1813-83) was a composer who drew inspiration from Christian and Nordic mythology, as well as the philosophy of Schopenhauer, to pioneer dramatically new forms of music. His concept of the "Total Artwork" led to the construction of the Bayreuth Festspielhaus, an opera house he designed specifically for productions of his own operas. He also wrote widely on music and art. His operas include Tristan und Isolde, Die Meistersinger von Nürnberg and the four parts of Der Ring des Nibelungen.