The Flying Dutchman, Opera North, review: 'a very fitting appearance'

It has been a long time since The Flying Dutchman last made landfall at Opera North, several times longer indeed than the mythical wanderer’s seven-year schedule ought to allow. But the Leeds-based company has been enjoying recent success with its concert stagings of Wagner, and, in what its general director Richard Mantle describes as a Wagnerian “gap year” before next summer’s performances of the Ring cycle, the composer’s early masterpiece now makes a very fitting appearance.

As before, the creative brain is Peter Mumford, a renowned lighting designer who widens his remit to include the direction and design concept. The singers (costumed by Fotini Dimou) move on an “apron” in front of the orchestra, and their direction is tellingly to the point – there’s nothing gratuitous here, which makes a pleasant change in opera this week, in the wake of the Royal Opera’s new Guillaume Tell. Mumford’s video work is projected onto a giant, stage-wide sail, and semi-abstract images of hands clasped in a swelling sea and of rigging dominate the picture, which is mostly monochrome except when blood-red seeps in. The projection provides movement where it is needed, but no less importantly imparts Wagnerian stillness.

^{Alwyn Mellor as Senta in The Flying Dutchman at Opera North (Photo: Richard Workman)}

Revisionists anxious to recast this early work as Wagner’s incipient music drama have been behind the increasing trend to perform it in a single, interval-less span. That tests the Sitzfleisch in the uncomfortably cramped Leeds Town Hall, yet Opera North’s music director Richard Farnes justifies the decision through the dark, dramatic thrust of his conducting. The work’s roots in bel canto and German Romanticism, not to mention a little Parisian-style spectacle, are blended with panache, and Farnes draws excellent playing It’s a treat to hear the woodwinds liberated from the pit and mingling with the voices.

Béla Perencz is outstanding the title role, using his dark bass-baritone with controlled power to suggest the character’s self-absorbtion. This Dutchman’s long hair and glistening coat make it look as if he has just come in from the sea. It’s unusual to hear such a contrasting voice as Daland, and if Mats Almgren’s gaunt-looking sea-dog is a bit blustery, his is still a strong performance. As Senta, Alwyn Mellor confirms her Wagnerian credentials with the glowing amplitude of her soprano and a rock-steady Ballad. Mati Turi’s burly tenor conveys Erik’s jealousy, Mark Le Brocq brings ringing top notes to the Steersman, and Ceri Williams is a characterful Mary. The chorus, so essential here, sings thrillingly.

Touring to Gateshead, Birmingham, Liverpool and Nottingham until July 11. Details: operanorth.co.uk