Opera North's The Flying Dutchman: Review

Richard Wagner’s The Flying Dutchman is a dramatic opera steeped in folklore, telling the tale of a cursed sea captain doomed to sail the oceans until he finds redemption through the love of a faithful woman. The story follows the Dutchman, who can only set foot on land once every seven years, as he seeks a bride who will remain true to him. In this production, the integration of contemporary refugee narratives adds an additional layer of poignancy to the opera’s themes of longing, displacement, and salvation.

Opera North’s production of Wagner’s The Flying Dutchman. Robert Hayward as The Dutchman, Clive Bayley as Daland and Edgaras Montvidas as Erik/ Steersman. Photo credit: James Glossop

This production, directed by Annabel Arden with set, costume, and video design by Joanna Parker, takes a bold interpretative stance by reframing the Dutchman as a symbol of the stateless and voiceless. The opera begins with recorded testimonies of real refugees, reinforcing the parallel between Wagner’s cursed mariner and modern asylum seekers. Instead of a ghostly ship, the production places the action within the confines of the UK Home Office, with Captain Daland recast as the Home Secretary. This setting creates an intriguing, if at times heavy-handed, political subtext.

Opera North’s production of Wagner’s The Flying Dutchman Photo credit: James Glossop

The staging is visually striking, with atmospheric video projections depicting the vastness of the sea, the mysterious figure of the Dutchman, and, most notably, images of real refugees at sea. These projections work effectively in reinforcing the themes of isolation and despair that run through Wagner’s opera, though at times, the imagery of people was somewhat difficult to discern. Nevertheless, the concept is a powerful and relevant addition to the production, drawing contemporary parallels to a centuries-old story.

Opera North’s production of Wagner’s The Flying Dutchman. Layla Claire as Senta with the ladies of the Chorus of Opera North. Photo credit: James Glossop

Of the principal performers, Layla Claire stands out with an outstanding portrayal of Senta. Her vocal performance is both expressive and commanding, conveying the character’s deep yearning and tragic devotion to the Dutchman. Despite an unconventional interpretation of her role — at times evoking a youthful dreamer rather than a tormented heroine — Claire’s singing is full of nuance and intensity. Robert Hayward’s Dutchman is equally compelling, his rich baritone capturing the character’s haunted desperation. Clive Bayley’s Daland is a fascinating mix of bureaucratic satire and traditional operatic presence, adding a layer of wry humour to the role.

The chorus and orchestra are, without doubt, superb. The richness and power of the choral singing adds weight to the opera’s most dramatic moments, while the orchestra, under the guidance of conductor Garry Walker, deliver Wagner’s sweeping and intense score with precision and emotional depth. The balance of tension, lyricism, and grandeur in the orchestration heightens the production’s impact, ensuring a musically captivating experience.

However, the choreography leaves much to be desired. At some points, the chorus inexplicably perform ‘the robot,’ followed later by what appears to be a Mexican wave. These choices feel out of place in the context of the production, distracting from the otherwise well-crafted staging and musical performances. Such moments of ill-judged movement undermine the intensity of the narrative and feel incongruous with the opera’s sombre tone.

Overall, this production of The Flying Dutchman is a well-executed and compelling interpretation of Wagner’s work, enhanced by powerful performances and an evocative visual presentation. The integration of real refugee imagery adds depth and relevance, despite some minor clarity issues. While the production excels in its musical and dramatic elements, the misjudged choreography detracts from the overall experience. With a more cohesive approach to movement and staging, this could have been an exceptional production. As it stands, it is an engaging but flawed rendition.