The Flying Dutchman is one of those tales you would expect to find in any coastal, seagoing community - ghost ship, whose captain is cursed to sail the oceans for ever, until he finds a woman faithful unto death. So it makes sense for director Harry Fehr to set Wagner's opera in a Scottish port, even without the backstory in the programme notes that Wagner had originally done just that.

Setting it in the early Seventies is also about as late as it could be set, without doing violence to the libretto. Riding out a storm in a neighbouring port only seven miles from home? No phones?

The Orchestra of Scottish Opera conducted by Francesco Corti creates the atmosphere from the start. The harbour, with its wee café in which the sailors seek refuge from the storm, is dreary. Scott Wilde (Donald) commands the stage as he captains his ship, magnificent in a sheepskin coat.

Nicky Spence is a gallus helmsman, but he sings "Mit Gewitter und Sturm aus fernem Meer" with fervour and tenderness. As he falls asleep, the seascape backdrop boils, turns red and black, and a freighter looms over the dock. Peteris Eglitis is a weary Dutchman, longing for rest, all but reconciled to its unattainability.

Meanwhile, the women prepare for the return of their men. Sandwiches are being made, wedding and bridesmaid's dresses have been bought, hand-powered Singer sewing machines are whirring as they sing a traditional song. All but one are happy.

Senta, Donald's daughter, is clearly no' the full shilling. She is obsessed with a painting, which bears a remarkable resemblance to the seascape at the start of the action, and the legend behind it - of the Flying Dutchman. She has decided that she is the one to save him. As Senta, Rachel Nicholls is excellent. Her voice is thrilling, and her acting is excellent. The attempts of Mary (Sarah Pring) to distract her, to calm her down, fail.

With the news that the men are on their way, the picture changes and takes on a vibrant life of its own - Ian William Galloway's video is spectacular. When Donald brings in the Dutchman to meet Senta, the tension is enhanced by James Farncombe's lighting. First they stare at each other, transfixed, as Donald does the introductions. Then, during their duet, in which Senta swears to be faithful unto death, which is acted as if out of time, as if it is their thoughts, Wilde mimes an animated conversation with them both, exhorting - one assumes - Senta to accept this man.

Only, there already is a man - George (Jeff Gwaitney) - who thinks he will marry her.

The chorus-work is impressive. The Act 3 invitation to the Dutchman's crew to join the party, accept the food and drink, is lively and warmhearted. The response from the crew, when it comes, from the back of the auditorium, is chilling in its sound.

Senta's efforts to escape her original intended and leave with the Dutchman are nearly thwarted, but her eventual suicide - by a knife - followed by the Dutchman's death - from George's bullet - is a fitting end.