“‘The Flying Dutchman’ offers a totally different approach,” Beaulac said. “It’s a legend that explores the solitude of the human soul.”
The story follows the captain of a phantom ship who travels the seas for seven years.
“He must do this before he can touch land once again and find love to redeem his own sins,” Beaulac said. “And it’s that redemption that Wagner has in all of his operas. It’s a very powerful, significant and psychological subject. We’re all looking for a little redemption and salvation in our lives.”
“The Flying Dutchman” is performed Nov. 10, 13, 15 and 17.
Johann Strauss’ “Die Fledermaus” takes the stage in the New Year.
“But we’ve adapted it as a comedy, which is set in Montreal in the 1930s,” Beaulac said. “It’s a full Canadian cast, and we’ll mix the two languages as much as Montreal is French and English.”
“Die Fledermaus,” which translates to “The Bat” in English, follows Eisenstein, a man sentenced to jail who is able to postpone his punishment to attend a party where he meets a Hungarian countess, who is really his wife in disguise.
“Die Fledermaus” is presented Jan. 26, 29 and 31 and Feb.2.
‘DEAD MAN WALKING’
Following is a much newer contemporary operatic take with “Dead Man Walking,” which is based on the 1995 film starring Sean Penn and Susan Sarandon.
“Dead Man Walking” tells the real-life story of Sister Helen Prejean, who befriends a prisoner who is sentenced to death.
“This deals with very powerful strong themes,” Beaulac said, who adds that the timing coincides with the recent 50th anniversary of Amnesty International, the human-rights organization founded in 1961.
“The death penalty is still a big question in a lot of minds,” Beaulac said. “Even in a world full of violence, many people question the death penalty. It’s a very strong statement on pardon and not adding death to death.”