Der fliegende Holländer in Frankfurt

Erika Sunnegårdh sings Senta

I saw the Flying Dutchman in Frankfurt on Thursday. It was a very satisfying performance.  The costumes and set design were timeless, the costumes just old fashioned enough and the set chaotic enough to fit into several epochs, so instead of thinking about them you listen to the music. I can't think of a better recommendation for an opera production. The set designer's master stroke was a gigantic revolving propeller which appeared as a backdrop whenever the ghost ship was about.

All the singers did credit to their roles. 

Erika Sunnegårdh was a marvelous Senta. Some years ago I took part in a crowdfunding project which was started to enable her to make a CD so I was interested to see her on stage. I discovered that she can act as well as sing and the role of Senta suits her voice. She was a delight to watch.

Flying Dutchman in New Zealand

St James Theatre, Wellington

Producing The Flying Dutchman is quite an undertaking for a recently formed opera company but Wagner's 200^th birthday has inspired the New Zealand Opera to do just that. On Wednesday when I saw the show the St James Theatre in Wellington was packed. Orla Boylan (Senta) and Peter Auty (Erik) delivered their demanding roles with aplomb and Shaun Dixon, originally from tiny Tokoroa,was a charming bright voiced Steersman. During the first half, produced in a minimalist but clever setting which augmented the voices, the evening looked as if it would be a winner.

But then came the chorus scenes and suddenly we were no longer with a group of Norwegian sailors but at a 1950s drunken Antipodean student party with students vomiting and fighting and more beer and chips thrown around the stage than you'd find at the most drunken brawl. The Director was Matthew Lutton from Australia. His credits list a couple of directing roles in Germany and perhaps he took his regie-theatre ideas from there. How pleased I shall be when an opera director is required to know and understand the music and it's cultural setting. Singers and conductors are required to have this knowledge … why not directors?