In an ultimate venue-bender, the San Francisco Opera is producing a stage version of a concert piece while, just across the street, the San Francisco Symphony is offering the "semi-staged" concert version of a genuine opera. For the Opera's "Damnation of Faust," there is the Symphony's redemption of Wagner's "The Flying Dutchman." The latter opened tonight in Davies Hall, producing one of the most thrilling events of recent years... but not at first. Michael Tilson Thomas, who last conducted a Wagner opera 23 years ago (also "Dutchman") must have built up some pent-up feelings about the work because he launched into the overture creating something approaching a racket. With the full orchestra on stage, in a size not likely to be accommodated in an opera-house pit, there was no need to "punch it up," but it happened anyway, musicans and conductor (all in black, but shirtsleeves) resembled an over-eager racehorse, stumbling out of the gate. And that was the last false note of the evening. Almost immediately, immense voices soared from the stage (dressed up with a few sails and some lights), the orchestra became one, Vance George's Symphony Chorus hit the hall's collective solar plexus. Loud became powerful, rush turned into vital urgency, and for the rest of the evening, oceanic sonic waves rolled into the hall, the finale sent shivers up on the spine, and the audience exploded in ovation at the end, celebrating a superb performance. MTT's Wagner is Solti-passionate at times, but he never "stepped" on a single vocal line - of course, he had voices almost impossible to drown out. In the quiet passages, he asked for and received a transparent, filigreed sound, warm and enchanting. Except for several blown notes in the brass, the Symphony was at his best. The men's chorus was solid and powerful, the women playful (the spinning chorus was utterly charming) and glorious. And so we come to the best part of this grand event, improbably after all this gushing: the soloists. Local boy (Merola Program, 1985) makes good, Mark Delavan was a giant of a Dutchman. (Although somehow ending up in a trench coat, the required stage wear across Grove Street where the Stuttgart mafia resides. Orson Wells asked what 500 years of peace and prosperity produced in Switzerland, and his answer was "the cuckoo clock!" Apparently, 500 years of sturm und drang in Germany produced one thing: the trench coat.) His voice solid and projecting perfectly into the huge hall, Delavan sang as if on fire. A combination of helden-baritone and a lyric voice with heft, he could do no wrong tonight. In the finale, he took great risks, allowing his voice to break twice when overcome by grief and despair. Delavan's duets with Stephen Milling (simply the best Daland I ever heard) were resounding through Davies as if amplified... except that they were not. The amplifier existed only within their throats. Speaking of amplified voices, Jane Eaglen's performance as Senta opened so quietly, with so much feeling that one had to look hard to make sure this is the same lady of the leather lungs we know. It was, and the trumpet sounded soon enough, but throughout the evening, Eaglen provided one of the most *musical* performances in recent years. Again, the Act 3 finale, with Eaglen, Delavan, the chorus, and the orchestra driven by a conductor waiting for two decades just for this - was an amazing experience. Jill Grove's Mary fit right in with the power-house principals, Eric Cutler's Steersman was pleasing. Mark Baker, his voice shifting from baritone to falsetto and back again, didn't quite live up to the demands of Erik's role. Peter McClintock's "semi-staging" was fully realized. Placing the singers and the chorus was made in the interest of the music. Some of the stage business might have gone on a bit too long, but the total effect was ever-supportive of the work. Except for the ballroom lighting to illustrate redemption, the use of lights was exceptional, giving a sense of the approaching ship here, illustrating feelings there. Much can be made with little where there is talent, good taste, and respect for the work. Additional performances are on June 13, 15, 19, and 21. Janos Gereben/SF www.sfcv.org [log in to unmask]