Tim Albery’s production returns to the Royal Opera House – but what have critics had to say about it?
Broadway World: **** “Albery’s revival of his Flying Dutchman simply works: with a great cast and a smooth atmosphere created by a dreamlike ship-inspired set, it all builds towards a Gesamtkunstwerk that Wagner might have enjoyed himself. A great success, all around.”
iNews: **** “This production’s great strength lies in the chorus under Henrik Nánási’s direction, and in Michael Levine’s massively austere designs with David Finn’s lighting. The opening tableau could be a Turner painting, as long lines of sailors haul a big boat onto the beach while the waves crash and the elements do their worst.”
The Evening Standard: **** “As the rival Dutch and Norwegian crews, as well as the latter’s girlfriends, the members of the Royal Opera Chorus were on terrific form. As was the orchestra under Henrik Nánási, who enabled the lead singers’ introspective approach, even at the risk of occasional sluggishness.”
The Stage: **** “Wagner’s Gothic horror opera is staged at the Royal Opera House with its lead performers offering dramatic commitment.”
London Unattached: “Whether you are completely new to opera, a Wagnerian neophyte or an old hand this production with its excellent cast, on-form orchestra and memorable staging is recommended.”
The Arts Desk: **** “Yet it’s Terfel who’s the quaking heart of this production, as he simultaneously expresses the Dutchman’s otherworldly anguish and the pain intertwined with his yearning for a better future. Even at the apparently happy moment when he and Senta are betrothed there’s a sense of the doom he feels. The quiet intensity of the passion in his voice briefly elevates to incredulous rapture before the torment engulfs him once more. Stooped and wretched, he conveys both centuries of agony and the pathos of the dream that yet again has failed to set him free.”
London Theatre Reviews.co.uk: *** “Starlight (or Senta) was an absolutely glorious Phillipa Boyle. Her command met the demands of the role, her voice ringing out in the church space and a good actress to boot. You could just see her doing more Wagner, her register is perfect and her tone very strong. The Mariner is Paul’s Putnins, gloomy in the part though not always grasping the vocal essentials, though still a stoic, anguished performance I’d say. Timothy Dawkins is Captain Dee, lovely baritone moments here in a role which pops in and out of the story. Mari and Helm are both tackled by Carolyn Holt (the former part replacing Erik as said love interest) for some manic and impassioned moments, vocally strong and resilient.”
The Flying Dutchman will continue to play at the Royal Opera House until the 16th March.