Holländer_TFE-Xiomara Bender-18

DER FLIEGENDE HOLLÄNDER

TIROLER FESTSPIELE / ERL

Immersive projection Design for Richard Wagner’s Der fliegende Holländer at the Tiroler Festspiele Erl

Richard Wagner’s Der fliegende Holländer (The Flying Dutchman) is one of the defining works of the Romantic opera repertoire. For the new production at the Tiroler Festspiele Erl, projection designers Raphael Kurig, Christian Gasteiger and Meike Ebert developed an immersive visual concept. Their projections became an integral part of the scenography rather than a decorative backdrop.

Using a PIXERA media server and a multi-projector setup, the projections accompanied the performance from beginning to end. Instead of functioning as isolated visual effects, they created a continuous visual layer. As a result, stage architecture, music and storytelling merged into one cohesive theatrical experience.

Directed by Josef E. Köpplinger, with stage design by Rainer Sinell and conducted by Asher Fisch, the production received praise for its cinematic imagery and powerful visual language.

Extending the Stage Beyond Its Boundaries

The architecture of Erl’s Passionsspielhaus played a key role in the visual concept.

Rather than ending at the edge of the stage, the projections extend across the theatre’s side walls. They visually continue into the auditorium and surround both orchestra and audience. Consequently, the entire venue becomes part of the storytelling.

The result is an immersive environment where architecture and projection merge into one visual space.

The Sea as a Narrative Element

The vast ocean landscapes form the emotional foundation of the projection design.

Calm waters gradually transform into stormy seas. At the same time, the imagery follows Wagner’s musical dramaturgy and continuously changes the atmosphere on stage. Therefore, the sea becomes far more than a backdrop. It becomes an active narrative element.

Meanwhile, the legendary ship of the Dutchman emerges from mist and rocky cliffs. Senta’s weaving tells the legend through a projected painting that becomes part of the scenic storytelling.

Every projection was created specifically for this production. In addition, every sequence was carefully synchronised with stage action, lighting and music.

Projection Design as Part of the Scenography

The projection design was conceived as part of the scenography from the very beginning.

Instead of adding digital effects afterwards, projections were integrated directly into the creative process. As a result, digital imagery, lighting and stage architecture work together seamlessly throughout the opera.

Technology never dominates the performance. Instead, it strengthens emotion, expands theatrical space and supports the narrative.

Projection Designers Behind the Production

The projection design was created by Raphael Kurig, Christian Gasteiger and Meike Ebert. Besides working together as an independent creative team, all three are colleagues in the Video Department of the Gärtnerplatztheatre in Munich.

During the performances, Raphael Kurig served as Projection Operator. He ensured that every visual cue remained perfectly synchronised with the live performance. Technical implementation was supported by Mirko Blank, Video Technician at the Tiroler Festspiele Erl.

Together, artistic design, technical operation and live performance formed one integrated creative process.

International Recognition

Following its premiere, Der fliegende Holländer received outstanding reviews from leading German-language media.

Critics praised the production’s cinematic imagery and the seamless interaction between music, stage and projection. Furthermore, they highlighted how the visual design became an organic part of the overall staging rather than a technical effect.

The production demonstrates how contemporary projection design can enrich opera. Rather than relying on spectacle alone, it creates images that connect music, stage and storytelling into one shared experience.