While rehearsals for the reshoots are gradually getting underway, the soloists of The Flying Dutchman are already in the midst of their stage rehearsals. For ten days, the singers, along with the team around director Jan Philipp Gloger and conductor Christian Thielemann, have been working musically and dramatically through the different scenes of the three acts. The goal is to combine music, singing, character direction, and technology into a coherent whole.

We would like to briefly introduce you to our premiere soloists for this year, including four Bayreuth debutants, in two parts. We start with Adrianne Pieczonka (Senta), Franz-Josef Selig (Daland), and Benjamin Bruns (Steersman).

the Flying Holländer: the Soloists (I)

Adrianne Pieczonka

Adrianne Pieczonka is at home in Toronto, where she recharged her batteries with her family before her trip to Bayreuth. Before that, she was also engaged in Europe: until early May, she sang Elisabeth in Don Carlos at the Vienna State Opera. In 2006/2007, she already shone as Sieglinde in the local Ring. “The atmosphere in Bayreuth is unique”, she enthuses. “Whether it’s the technical crew, choir, or soloists – it’s almost like one big family.” And since everyone is in a summer mood, there’s usually a relaxed, casual atmosphere. She made her Senta debut in 2010 in Paris and was not without doubts about the role beforehand: “It was a big step into the dramatic for me, and I didn’t know if my voice was really suitable.” That it was a great success makes her grateful: “I now really enjoy singing this part.” And she looks forward to working on it with Christian Thielemann for the first time. “I like his great feel for musical balance.”
More about Adrianne Pieczonka

Franz-Josef Selig

Franz-Josef Selig’s last two engagements were Rheingold at the New York MET and a concert with a CD recording of Bruckner’s F minor Mass. After a stopover with his family in Cologne, he is now looking forward to singing in Bayreuth for the first time. “My first opera experience ever was at the Green Hill – as a scholarship holder of a Wagner association in 1986.” When he was able to experience Matti Salminen as Marke there, it impressed him immensely: “I have been singing Wagner roles for many years now. But being able to do it here for the first time is the fulfillment of a dream.” What also appeals to him about Daland is the un-Wagnerian nature of the role: unlike the Holländer, which already has much of later Wagner, Daland has more of a Singspiel character and is close to Lortzing. He also finds the brokenness of the character exciting: “He is a father and seafaring merchant who abandons his daughter. This strange mix of character can be quite dramatically interesting.”
More about Franz-Josef Selig

Benjamin Bruns

Steersman Benjamin Bruns, who is making his debut at the Green Hill, came directly to Franconia from Vienna. In the Danube metropolis, he is part of the State Opera ensemble. He was able to discover the Festspielhaus and its surroundings in peace during the first rehearsals. “From the very first rehearsal, you feel the long tradition of performance, this unique concentration on the work of a single composer. And this special group dynamic that arises because everyone wants to be here.” He admits that the Steersman’s part is small, but because of the song at the beginning, it has a wonderful recognition value. And he finds the Steersman’s personality very likable because it’s so human: he sleeps even when he should be working.
More about Benjamin Bruns

In the next issue, we will introduce Christa Mayer (Mary), Michael König (Erik), and Evgeny Nikitin (Holländer).

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