After this vocal excursion the Holländer asks Senta if she is willing to abide by her father's choice and to vow eternal faith. Her consent is glad and free. There is another ensemble introducing a new and stirring joy-theme. The highest note always occurs upon the word faith, thus fulfilling the substance of the text, which is, "Faith above all!"
Daland reenters and is delighted to find such unity of voice and purpose. He wishes the engagement announced at the evening fête which his sailors will have to celebrate their home-coming. Senta repeats her vow to be faithful unto death, and the act closes with an exhilarating trio.
Wagner makes his orchestral preludes conform to a distinct purpose—that of connecting the acts. So with the next introduction we hear the joyous theme of the recent duet gradually modulated into a whispering memory of the boatswain's song. This, in turn, develops into a new and noisy nautical refrain, that is continued till the curtain rises, and then is sung by the Norwegian sailors who are on the deck of their ship. They are merry-making. The ship is illuminated with gay lanterns, as are also the tavern and houses in the foreground. But not so the stranger's vessel that lies alongside at the back of the stage. It is engulfed in gloom and silence like the grave. The gay Norwegian chorus has a peculiar rhythm that suggests the flapping of sail-cloth in a brisk wind; it has sharp, rugged accents and a spirited tempo. The song is ended with a regular hornpipe dance on deck. This bewitching dance-melody seems thrown in to show what Wagner could do in that line if he wanted to.
Some maidens come from the tavern with a basketful of provisions. While the sailors continue dancing to the gay orchestral accompaniment, the girls sing among themselves in quite another strain. As their conversation should be most prominent, the dance-melody is promptly changed from major to minor, which always gives a subduing and receding effect like "scumbling over" in painting.
The girls go toward the Holländer's ship, intending their provisions for the strangers, who seem to be sleeping profoundly. The girls call to them, but only a ghostly silence rewards their efforts. They sing a winning waltz phrase inviting the strangers to join their fête; they offer every inducement to arouse the silent crew, and finally resort to a great outcry: "Seamen! Seamen! wake up!" But again only prolonged stillness is the answer.
The well-meaning maidens are thoroughly frightened, and they hasten away after handing their basket to the Norwegian sailors. These proceed to enjoy the contents. They fill their wine-glasses and repeat the merry opening chorus.
In the mean time the sea surrounding the Holländer's ship becomes suddenly turbulent, a weird blue light illumines the vessel, and its crew, which were before invisible, are seen to move about.
The Norwegians cease singing, while their ghostly neighbors begin to chant in hollow tones that terrible curse-theme. Tremolos and chromatics descend upon the orchestra like a storm of hail and rain that almost drown the singers' voices. To a demoniacal refrain full of startling crescendos and pauses they sing of their gloomy captain
"Who has gone upon land to win a maiden's hand."
Then they laugh an unearthly "Ha! ha!"