The Flying Dutchman, often regarded as Wagner’s first true Gesamtkunstwerk (total artwork), has a somewhat problematic yet refreshingly straightforward narrative – at least compared to most operas. There are no mistaken identities, hidden family ties, or scheming servants – just a simple, if slightly absurd, tale of love, obsession, and redemption. Oh, and death. Mustn’t forget the death.
A sea captain, Daland, encounters the cursed Flying Dutchman, doomed to sail forever unless he finds true love. Offered treasure, Daland promises his daughter, Senta, in marriage. (What is she, some sort of chattel?) Senta, previously obsessed with the Dutchman’s legend and oft to be seen worshipping his picture, eagerly accepts. After their union, her former lover Erik confronts her, making the Dutchman believe she’s unfaithful. He prepares to leave, but Senta proves her devotion by sacrificing herself, breaking his curse.
So far so good?
Well, the problem is that this particular production’s framework feels misplaced, portraying Daland’s captain’s ship as the Home Office (a ship of state), complete with red boxes and ID lanyards. Real-life immigrant stories, though powerful, seem forced into Wagner’s tale. The allegory lacks conviction, and the lukewarm audience response at the curtain call suggests I wasn’t alone in my view.
And this isn’t the first time this has been tried. OperaUpClose’s 2023 production, directed by Lucy Bradley, compellingly reimagined The Flying Dutchman in a dystopian future England, where the Dutchman became a migrant smuggler, unable to find safe harbour for his passengers. This worked in part due to Bradley’s bold English-language adaptation. In contrast, Opera North’s production, directed by Annabel Arden with designs by Joanna Parker, lacked a clear and convincing narrative link. Here, the Dutchman simply turns up at the Home Office, flashing his laptop to Daland to prove his wealth – no people-smuggling, no real justification for Senta’s obsession, no real cross-fertilization of the story and its new setting.
The ending also felt unconvincing. Wagner’s (admittedly problematic) vision has Senta, Tosca-like, leaping to her death, the Dutchman’s ship sinking, and their spirits ascending as one. Here, she simply arranges the remnants of a wrecked migrant ship—teddy, jumper, tiny life jacket—before lying down, encircled by the chorus. When they disperse, she is gone.
However, musically, this Dutchman is a triumph. “Super stand-in Senta steals show” might be a back-page tabloid headline, in an alternate universe where the reporting of culture, rather than sport, captures the attention of the masses. Illness sidelined Opera North debutante Layla Claire, who walked the role of Senta while another first-timer, Welsh soprano Mari Wyn Williams, sang from the side of the stage. And Williams was superb. Initially seeming a little nervous, Williams soon delivered with confidence and compassion, her Act 3 performance a standout highlight.
And from the stirring overture, with Opera North’s excellent orchestra and haunting video visuals, to the powerful choruses – Act 3’s opening a highlight, despite the odd robot dancing – the performances were outstanding. Robert Howard commanded the title role with authority, if not much tenderness. Clive Bayley’s superb Daland was well-supported by Molly Barker (Mary) and Edgaras Montvidas (Erik). Erik, the ex-lover, often seemed the only sane figure on stage, but as a character was something of a lacklustre wet fish. A fitting reflection perhaps of both the opera’s maritime theme and this not-always-convincing production.
The Flying Dutchman is at the Leeds Grand Theatre, Newcastle Theatre Royal, Lowry Salford Quays, Theatre Royal Nottingham, and the Hull New Theatre until 28th March. Tickets (including £20 ‘new to opera’ tickets, £10 for under 30s and children, and free for 16-20s in Leeds, from https://www.operanorth.co.uk/whats-on/the-flyin-dutchman/
Reviewer: Mark Humphreys
Reviewed: 1st February 2025
North West End UK Rating: