In her pre-opera talk on October 28, 2013, Desirée Mays referred to The Flying Dutchman as Wagner-Lite. Since I regard “Lite Beer” as an abomination, I don’t entirely like her term – I’d rather call it Wagner-Accessible or Wagner-User-Friendly. The music is still powerful, but I walk away with a couple of actual melodies running through my head; whereas I walk away from a performance of The Ring thoroughly awed by the cumulative effect and a head full of motifs fighting for my attention. Continue reading
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