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General Manager
    • Deputy General Manager for Artistic Affairs
      • Artistic Planning and Soloists Department
      • Orchestra Department
      • Choir Department
      • Ballet Department
    • Deputy General Manager
      • Human Resources and General Affairs Department
      • Production Department
        • Stage Crew Department
        • Workshops Department
      • Economy Department
    • Accounting Department
    • Deputy General Manager for Marketing
      • Marketing Department
        • Advertising and Sales Department
        • Customer Services Department
        • Production and Event Management Department
    • Strategic
      and Investment
      Management Department
General Manager
    • Deputy General Manager for Artistic Affairs
      • Artistic Planning and Soloists Department
      • Orchestra Department
      • Choir Department
      • Ballet Department
Deputy General Manager
Accounting Department
Human Resources and General Affairs Department
      • Production Department
        • Stage Crew Department
        • Workshops Department
Economy Department
    • Deputy General Manager for Marketing
      • Marketing Department
        • Advertising and Sales Department
        • Customer Services Department
        • Production and Event Management Department
    • Strategic
      and Investment
      Management Department
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Klaipėda Festival

2022.08.05

21

30

Opera
THE FLYING DUTCHMAN

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After 160 years and countless adaptations, Richard Wagner’s fifth and one of the most widely staged ‘romantic’ operas, The Flying Dutchman (1840–1), has come almost full circle to the shores of the stormy Baltic Sea, where on board the ship Thetis driven to a Norwegian fjord the idea for the opera first occurred to the composer. Knowing the circumstances surrounding Wagner’s personal life and that long dreadful sea voyage, no wonder that he chose an old legend about the Dutch sailor condemned for blasphemy to sail the seas for evermore in a ghost ship until his soul will be redeemed by the love of a faithful woman as a subject for his new opera.

In 2020, the Klaipėda State Music Theatre staged its first production of the opera at the site where every detail seemed to ignite audience’s imagination – on the frame structures and hoists of the historic shiplift of Paul Willy Lindenau shipyard complex in the former port of Memel. By setting the scene in the open air, on the banks of the Curonian Lagoon, the artistic team around Concept and Artistic Director Dalius Abaris faced the challenge of dealing with the fast-changing weather conditions and almost a century-old industrial heritage. The real ship ‘sailing’ past the rows of the auditorium and kilolitres of water falling from the scaffold towers and acrobatic stunts on the ropes in between; costumes surprisingly alluding to the popular culture icons of the not-so-distant past; special effects created by modern lighting, theatrical smoke equipment and pyrotechnic devices; and last but not least Wagner’s fascinating music supremely performed by the Klaipėda State Musical Theatre Symphony Orchestra, choir and soloists, and amplified with the help of leading sound engineers and cutting-edge audio technology who made it sound as if it were staged in an acoustic theatre hall – all these elements created a splendid feast of opera, which was introduced to the audience in a single live show dedicated to the city’s 768th birthday on August 1, 2020.

Later, in the form of a video recording, The Flying Dutchman flew across Lithuania where it won a number of theatre awards as one of the most celebrated productions of the year and reached millions of viewers around the globe via the OperaVision platform where it received rave reviews from Wagner fans on either side of the Atlantic. This summer The Flying Dutchman will be berthed for two nights at the Klaipėda shiplift.


AWARDS

The Mask of Gratitude (26 March 2021, Klaipėda) to the creative team for Best Performance of Year 2020 in Klaipėda
Golden Crosses of the Stage (27 March 2021, Vilnius) to Dalius Abaris for directorial contribution and opera soloist Tadas Girininkas for the role of Daland
Albatross (23 July 2021, Klaipėda) to the Klaipėda State Music Theatre for the staging of Wagner’s opera The Flying Dutchman at the historic site of the Klaipėda Shipyard

ACT I. A raging storm has driven the homebound fishing boat aground in a cove. The Steersman tries to keep up his spirits with a song but falls asleep on the watch, together with the exhausted crew and the ship’s captain, Daland. As the storm grows stronger, a strange-looking vessel appears. Its pale-faced captain is the legendary Flying Dutchman who has been condemned to eternal wandering unimpeded by storms or pirates. He can find peace neither at sea, nor on land where he is permitted to go ashore once every seven years and search for true love, which is his only hope for salvation. The Dutchman asks captain Daland for shelter and offers his entire fortune in return for lodging. Tempted with the prospect of wealth, Daland gladly offers the hand of his daughter, Senta. A beam of hope shines in the Dutchman’s soul: is there a chance that he finds his lost homeland in Daland’s family and ultimate redemption through the love of faithful Senta? Meanwhile, sailors greet a tailwind and prepare their ships to set sail.

ACT II. Waiting for the return of Daland’s ship, the girls are working in the berth and singing. Senta is oblivious of her surroundings, brooding on an old medallion with a picture of a pale-faced sailor. Senta’s friends tease her about the huntsman Erik, her ardent suitor. Senta, heedless of their facetious remarks, sings a ballad, which she came to love as a child. It is about the wandering sailor whose mysterious ship is condemned to stay at sea forever. Every seven years he comes ashore to seek a maiden who would love him enough to declare herself faithful to him for life. Were he to find one, his curse would end – but he never does so. Senta’s friends are moved by the doomed wanderer’s fate, while she is obsessed with the idea that she will be the one to save the Flying Dutchman from doom. Senta’s words surprise Erik, who is overtaken by a strange foreboding. He relates a dream, in which he saw Senta’s father return with a mysterious stranger resembling the one portrayed on the medallion. Senta is now convinced – he is her destiny. Erik leaves in despair.
Daland unexpectedly arrives home with the Dutchman and relates Senta about their encounter and his companion’s lucrative proposal in exchange of her in marriage. But Senta barely notices her father, even when he introduces his guest as her betrothed. The Dutchman does not turn his eyes from Senta, hoping that her love and faithfulness will lift his curse. Daland leaves the two alone.

ACT III. Sailors celebrate their safe return to land. They call out to the Dutchman’s ship, inviting the crew to join them, but the ship remains dark and silent. Daland’s sailors deride the mysterious crew and tease the girls by telling about the ghost ship and its captain. Suddenly, a storm rises and ferocious singing is heard from the ghost ship. Daland’s men try to muffle up their wailing with their merry song but finally retreat in fear.
Hearing about Senta’s betrothal, Erik tries to dissuade Senta from binding her life with the eerie stranger. Senta is unwilling to listen to him, for she has made an oath and is called by a supreme mission. Erik then reminds her of their happy days together and his love for her. The Dutchman, seeing Senta together with Erik, is stricken by a sense of loss, believing that Senta, too, has failed to render him undying faithfulness. He reveals his secret and sets off towards his ship to continue this endless roaming. Erik and Daland’s attempts to restrain Senta are futile: she follows the Dutchman, determined to save him from curse... Will heaven hear her plea?

LAURENT BURY Le Vaisseau fantôme à Klaipėda (Streaming) – Senta fan d’Assasin’s Creed
+

 

Violeta Urmana. Asmik Grigorian. Edgaras Montvidas. Ces quelques noms suffiraient à indiquer que l’opéra n’est pas un genre négligé en Lituanie. C’est à Klaipėda (anciennement Memel, du temps où c’était une cité hanséatique), troisième ville du pays, qu’OperaVision est allé filmer l’été dernier un Vaisseau fantôme mis en ligne il y a quelques jours. Selon l’anecdote, Wagner aurait entendu au cours d’un voyage mouvementé en mer Baltique les cris et les chants qui lui inspirèrent le premier des opéras de sa maturité, le plus ancien à être admis sur les planches du Festspielhaus de Bayreuth. Et ce Fliegende Holländer a été monté avec la Baltique à l’arrière-plan, dans le port de Klaipėda, avec micros et haut-parleurs pour compenser l’absence d’acoustique propice.

Photo Almas Švilpa (Le Hollandais) © KlaipedaStateMusicTheatre

Le dispositif est assez impressionnant et permet évidemment de respecter certaines exigences du livret, avec notamment un vrai bateau pour le Hollandais ! Tout à droite, dans une sorte de grande boîte, avec un toit qui le protège des éléments, l’orchestre, au-dessus duquel se trouve une plateforme correspondant à la maison où attend Senta. Tout à gauche, deux grandes tours d’échafaudages métalliques, qui figurent le navire de Daland. C’est entre ces deux tours, copieusement arrosées de kilolitres d’eau durant la tempête initiale, et escaladées par figurants et choristes tout au long de l’ouverture, que surgira le fantomatique vaisseau.
Qui dit plein air dit bien sûr mise en scène immédiatement accessible : foin des lectures psychanalytiques et autres transpositions à Chittagong ou ailleurs, la production signée Dalius Abaris et Gediminas Šeduikis ne cherche pas midi à quatorze heures, mais exploite pleinement le spectaculaire que permet ce cadre, avec plateaux suspendus, fumigènes et éclairages dignes d’un concert de rock. L’action se déroule à une époque récente. Dans ce monde de marins en cirés et waders, Erik le chasseur a plutôt l’allure d’un fermier texan. Les dames ont renoncé à une féminité conventionnelle : désormais, les fileuses manipulent des caisses, leurs manches retroussées et leur turban années 1940 leur donnant plutôt l’allure de Rosie la Riveteuse sur la célèbre affiche américaine « We Can Do It ». Sous sa capuche qui lui dissimule le visage, le Hollandais paraît sorti de l’univers des jeux vidéo Assassin’s Creed, et il est entouré de zombies et autres momies vivantes. Autrement dit, des références qui parlent au public, mais sans trahir l’esprit de l’œuvre.
 

© KlaipedaStateMusicTheatre

Peut-être grâce à la sonorisation, l’orchestre symphonique de Klaipėda dirigé avec élan par Modestas Pitrenas sonne avec une force et une clarté assez exceptionnelle, qui valorise en particulier les bois, d’une belle verdeur nasale que l’on croyait associée aux formations françaises d’antan. Possible effet des micros aussi, on distingue clairement la superposition des voix graves et des voix aiguës dans le chœur des femmes au deuxième acte. Quant aux solistes, on s’abstiendra de se prononcer ici sur leur puissance, dont il faudrait pouvoir juger en salle, sans les secours de la technologie. Commençons par saluer les clefs de fa, avec le magnifique Daland de Tadas Girininkas, dont le timbre d’airain et la prestance évitent de faire basculer le personnage dans le ridicule, et le non moins admirable Almas Švilpa dans le rôle-titre, dont la véhémence impressionnante dès « Die Frist ist um » ne se relâchera pas un seul instant.

Les ténors ne jouent pas dans la même catégorie, et peut-être n’était-il pas nécessaire de privilégier la force là où l’on attend plus de charme, surtout pour l’Erik un peu trop héroïque d’Andris Ludvigs qui plafonne dans les notes les plus hautes. Dalia Kužmarskytė est une Mary correcte, mais l’on reste partagé face à Sandra Janušaitė. Certes, Senta est un rôle impossible, où il faut à la fois une voix juvénile mais d’une vaillance à toute épreuve ; la soprano lituanienne, malgré de réelles qualités, possède un aigu tranchant, parfois presque acide, dont on espère que les années l’aideront à gagner en générosité. Heureux néanmoins les habitants de Klaipėda, à qui l’on propose des spectacles estivaux de cette qualité !

Laurent Bury

Composer and librettist

Richard Wagner

Music Director and Conductor

Modestas Pitrėnas

Concept and artistic direction

Dalius Abaris

Choreographer

Aurelijus Liškauskas

Set Designer

Dalius Abaris

Set Designer

Sigita Šimkūnaitė

Costume and Makeup Designer

Sandra Straukaitė

Lighting Designer

Andrius Stasiulis

Information:

Date of premiere:

2020-08-01

Duration:

~2 hrs. (without breaks)

Location:

Klaipėda Shiplift

Age group:

7+

Price:

€ 30.00, € 40.00, € 50.00, € 60.00

Upcoming performances:

Start
02 hr. 00 min.
End
Cast
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Almas
Švilpa
The Dutchman
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Taras
Shtonda
Daland (role debut)
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Sandra
Janušaitė
Senta
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Andris
Ludvigs
Erik
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Tadas
Jakas
Daland’s steersman (role debut)
person profile image
Dalia
Kužmarskytė
Mary
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Klaipėdos valstybinio muzikinio teatro
simfoninis orkestras
KSMT Symphony Orchestra
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Klaipėdos valstybinio muzikinio teatro
choras
Norwegian sailors and port workers
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Klaipėdos valstybinio muzikinio teatro
baleto trupės artistai
Norwegian and Dutch sailors

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Klaipėdos valstybinio muzikinio teatro modernizavimas

Projektas finansuojamas iš Europos regioninės plėtros fondo

Projekto Nr. 07.1.1-CPVA-V-304-01-0019

Klaipėdos valstybinis muzikinis teatras įgyvendiną teatro modernizavimo projektą, dalinai finansuojamą Europos regioninės plėtros fondo, pagal 2020-01-10 pasirašytą finansavimo ir administravimo sutartį su VšĮ Centrine projektų valdymo agentūra. Bendra projekto vertė 23 990 642,98 Eur, iš jų ES regioninės plėtros fondo lėšos - 9 510 736,93 Eur, Lietuvos Respublikos valstybės biudžeto lėšos – 14 479 906,05 Eur.

Pastato rekonstrukcijos techninis projektas buvo parengtas dar 2016 m. pabaigoje, rangovas parinktas 2018 m., rangos darbų viešąjį konkursą laimėjo UAB „Infes“. Klaipėdos valstybinio muzikinio teatro rekonstrukcija pradėta 2018 m. rugsėjo 14 d. Apie rekonstrukcijos pradžią iškilmingai paskelbta įkasant kapsulę ateities kartoms būsimo pastato pamatuose

Projekto tikslas – padidinti Klaipėdos valstybinio muzikinio teatro patrauklumą, teikiamų kultūros paslaugų prieinamumą ir kokybę

Klaipėdos valstybinis muzikinis teatras – didžiausias profesionalaus meno kolektyvas ne tik Klaipėdoje, bet ir visame Vakarų Lietuvos regione. Klaipėdos valstybinis muzikinis teatras įkurtas 1987 metų sausio 1 dieną, Klaipėdos liaudies operos teatrą reorganizavus į muzikinį teatrą. Per dvidešimt šešerius kūrybinės veiklos metus teatre pastatyta per 100 įvairių žanrų ir epochų sceninių veikalų, tai: operos, operetės, miuziklai, muzikinės dramos, baletai, šiuolaikinio šokio spektakliai, oratorijos, muzikiniai spektakliai vaikams.

Klaipėdos valstybinis muzikinis teatras teikia šias pagrindines paslaugas – rodo spektaklius (savo ir kitų gastroliuojančių teatrų repertuarą) Klaipėdoje, stato naujus spektaklius, teikia edukacines paslaugas, rodo spektaklius kituose miestuose (gastrolės), įgyvendina kultūrines programas. Teatras orientuojasi į platų visuomenės ratą kaip tikslinę žiūrovų auditoriją. Repertuaras bei spektakliai pritaikomi kuo įvairesnėms tikslinėms žiūrovų grupėms (atsižvelgiant į amžių, socialinę padėtį, pomėgius ir kt.), tokiu būdu siekiama formuoti teigiamą visuomenės požiūrį į teatrą ir pritraukti kuo įvairesnių visuomenės grupių atstovus.

Svarbi scenos infrastruktūra įrengta dar sovietų laikais ir šiuo metu visiškai neatitinka laiko realijų. Nėra galimybės greitai pakelti ir nuleisti dekoracijų, vystyti kitų meninių spendimų. Įdiegus šiuolaikinę scenos infrastruktūrą, būtų pagerintas ne tik vizualinis vaizdas, kuris svarbus žiūrovui, bet ir būtų sudaryta galimybė didesnei režisierių ir aktorių saviraiškai. Tai leistų statyti daugiau ir novatoriškesnių spektaklių.

Šiuolaikiniam jaunimui labai svarbu, kad teatro spektakliai atspindėtų tai, kas yra aktualu. Šiuolaikiniai spektakliai, kuriuose vyrautų jaunimo kultūra (vadinamoji „gatvės kultūra“), būtų naudojamos išmaniosios technologijos (kadangi tokias technologijas jaunimas naudoja ir kasdieniniame gyvenime) leistų padidinti susidomėjimą ne tik jaunimo tarpe, bet pritrauktų ir kitų amžiaus lankytojų grupes, kurios nori susipažinti su siek problemomis. Įdiegus tinkamą scenos įrangą, galima būti kurti vizualinius pasakojimus, kurie taptų neatsiejama spektaklių dalimi.

Šiuo metu Vakarų Europoje ir JAV vyrauja tendencija, kad teatras turi būti aprūpinamas naujausia technine įranga, kuri leistų kurti visiškai naujo lygio pasirodymus. Tokia įranga leidžia išreikšti spektaklio herojaus išgyvenimus vizualiai, scenoje projektuoti vaizdinius, sukurti reikiamą atmosferą (keičiant šviesos spektrą, intensyvumą, spalvą, galima sukurti baimės, gėrio, jaukumo ir kt. atmosferą). Gera garso sistema leistų pasiūlyti įvairesnių garso sprendimų. Labai svarbu pažymėti, kad režisieriai, turėdami tokias priemones, galėtų lengviau interpretuoti scenarijus, pasirinkti sprendinius, kurie iki šiol, dėl techninių sąlygų, nebuvo galimi.

Įgyvendinus projekto veiklas, numatoma pasiekti projekto tikslą - padidinti Klaipėdos valstybinio muzikinio teatro patrauklumą, teikiamų kultūros paslaugų prieinamumą ir kokybę. Bus pasiekti tokie rezultatai:

  • modernizuoti didžiosios salės scenos technologijos įrenginius ir susijusią įrangą;
  • modernizuoti didžiosios ir mažosios salės garso ir apšvietimo įrangą;
  • pakeisti didžiosios salės kėdes bei kiliminę dangą. Pakeisti mažosios salės kėdes, suteikiant daugiau komforto lankytojams.
  • Pritaikyti teatro erdves ir infrastruktūrą lankytojų poreikiams.