Wagner: The Flying Dutchman
Bord Gáis Energy Theatre, Dublin
★★★★☆
There is a hoary old chestnut, usually attributed to Rossini, that “Wagner has beautiful moments but terrible quarter-hours”. That certainly does not apply to Irish National Opera’s new production of The Flying Dutchman. Nothing terrible here to frighten anyone.
Directed by Rachael Hewer, with lighting by Howard Hudson, it’s a real marriage of music and drama, drawing you into Wagner’s retelling of an old legend.
The Dutchman has been condemned to sail the seas, coming to land only every seven years. If he can then find a woman whose love is true, he will be redeemed and freed from his curse. For now, it looks as if that woman might be Senta, the daughter of a local sea captain, Daland.
The highly charged orchestral overture plays against the backdrop of a huge painting of a 19th-century masted sailing ship on heavy seas. The painting vividly comes to life thanks to clever animation.
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Simultaneously, there’s a silent dramatisation on stage as we meet a young Senta, played by Caroline Wheeler in a red coat – a premonition of things to come when grown-up Senta also wears a red coat. To avoid a plot spoiler, let’s just note that the opera ends with a real coup de theatre.
Francis O’Connor’s sets and costumes are highly effective, from the dramatic red sails and black sou’westers to the centre-stage tilted lookout mast of Daland’s ship and the nearby wheelhouse. The tenor Gavan Ring, in fine voice as Daland’s confident Steersman, fearlessly climbs up that mast several times during the storms, singing as he does so.
Daland himself – the American bass James Creswell, with a rich, resonant voice – captures the essence of a leader of men and yet someone willing to exchange his daughter in marriage to a strange Dutchman for silver and gold.
The American baritone Jordan Shanahan is that strange Dutchman, projecting his well-focused voice easily. He brings authority and great intensity to the lengthy duet with Senta at the end of the second act.
Giselle Allen, as Senta, is a commanding and dramatic presence throughout, both vocally and as a character. She is fascinated by the Dutchman’s portrait in her father’s house, and then by the Dutchman himself. There’s a climactic moment at the end of her act-two ballad as she climbs the ship’s mast, singing all the while. Her top notes ring out with real power, if not always maintaining a gradated line.
Senta already has a boyfriend, the self-centred butcher Erik, sung by the tenor Toby Spence. His initial hectoring quality calms down with a fine lyrical performance for his foreboding dream about Senta.
Mary, Senta’s nurse, is sung with a lovely lightness of touch by the mezzo-soprano Carolyn Dobbin. She also contributes to the moments of humour in the production. Her dancing, along with the large chorus of women, is highly entertaining. As too, subsequently, are the men. Stephanie Dufresne is the choreographer.
The singing of the INO Chorus in this Garsington Opera coproduction, with an offstage chorus from New Dublin Voices, is often thrilling and vibrant – a credit to the chorusmaster, Richard McGrath. It’s a surprise to find the women’s spinning chorus in a busy fish factory!
It’s unfair to leave to last the all-important role of the INO Orchestra, conducted by Fergus Sheil, Irish National Opera’s artistic director. Tempi flow naturally and orchestral colours are well delineated, with clear-sounding strings and confident brass. A special mention for the reliable horns and the lugubrious tuba. The stormy weather is enhanced by the strident piccolos in the side gallery and the wind machine. If the woodwinds are somewhat recessed, that may be down to my position in the stalls.
Do go if you can. Even an extended interval with an audience evacuation apparently caused by a smoke alarm shouldn’t deter you from a great evening in the theatre.
The Flying Dutchman is at the Bord Gáis Energy Theatre, Dublin, on Tuesday, March 25th, Thursday, March 27th, and Saturday, March 29th
