Opera North is a force to be reckoned with, offering audiences a shrewd mixture of neglected works and well-loved classics. Last month, for example, saw an excellent production of Kurt Weill’s little-known time-hopping musical Love Life (directed by Matthew Eberhardt) and soon there will be another revival of James Brining’s shape-shifting take on The Magic Flute.
Whilst not as famous as Wagner’s later (and much lengthier!) works, The Flying Dutchman remains a popular choice for opera companies looking to combine high drama with spectacular stage effects. However, this production—directed by Annabel Arden and designed by Joanna Parker—approaches it from an unexpected angle that further demonstrates Opera North’s commitment to risk and experimentation.
Inspired by a nautical legend—and Wagner’s own experience of a stormy journey on the North Sea—The Flying Dutchman focuses on the captain of a ghostly ship, the Dutchman (Robert Hayward), who is cursed to wanders the ocean. Every seven years, however, he is given the chance to set foot on land in order to find a woman who can break the curse by swearing eternal fidelity to him.
The opera’s resemblance to the narrative of Beauty and the Beast is underlined by the involvement of Daland (Clive Bayley), who introduces the Dutchman to his only daughter, Senta (Layla Claire). However, whereas Beauty learns to love the Beast over time, Senta is immediately entranced by the Dutchman. Indeed, her unhealthy obsession with the cursed sea captain, which predates their first encounter, reminded me of the strange connection between Count Orlok and Ellen in the recent remake of Nosferatu.
In a bold move, Arden has decided to give The Flying Dutchman a more contemporary resonance by drawing a parallel between the plight of the Dutchman and the many asylum seekers who travel to the UK in the hope of beginning a new and safer life. The comparison is not out of the question, particularly when one considers the precarious and anxiety-ridden existence that most asylum seekers lead, and there is undeniable power in hearing real-life testimonies played at the beginning of each act.
That being said, despite the liminal space occupied by both the Dutchman and asylum seekers, I’m not convinced that this angle is accommodated by the libretto of The Flying Dutchman, resulting in a production that is less narratively and emotionally engaging than it might have been.
All this being said, there is no denying the good intentions behind the production or the imagination that has gone into its design. In an evening full of arresting images, I was particularly struck by an early scene set in the Home Office, with Daland—a sea captain in the original libretto—reimagined as a besuited bureaucrat, amidst a sea of civil servants running around with laptops.
Musically, this staging of The Flying Dutchman fares much better. The storm-tossed overture is performed with power and flair by the Orchestra of Opera North, conducted by Garry Walker. There is also excellent work from the Chorus of Opera North, particularly the female members during their rendition of “Spinning Chorus”.
With his muscular voice, Robert Hayward makes for an imposing and imposing Dutchman. Whilst not exactly a comic performance, Clive Bayley lends a roguish quality to the role of Daland. I was also impressed by Edgaras Montvidas, who brings genuine pathos to Erik, Senta’s discarded lover.
Unfortunately, Layla Claire was unwell on the evening of the performance, so she mimed the role of Senta while Mari Wyn Williams sang from the side of the stage. Despite less-than-ideal circumstances, Claire performed with conviction, skilfully capturing the character’s conflicting emotions, and Williams sang beautifully.
Despite my reservations about the staging, The Flying Dutchman is full of musical delights.