Der Fliegende Holländer (The Flying Dutchman), Persona Arts, The Bradshaw Hall, Royal Birmingham Conservatoire, Birmingham. Final performance 13 July 2024, 3✩✩✩. Review: David Gray & Paul Gray.

Der Fliegende Holländer (The Flying Dutchman), Persona Arts, The Bradshaw Hall, Royal Birmingham Conservatoire, Birmingham, 10 July 2024, Final performance 13 July 2024. Running time 3hrs with interval,

3✩✩✩ Review: David Gray & Paul Gray.

“A mostly convincing performance of Wagner’s early masterwork.”

The Flying Dutchman is the earliest opera by Wagner that is still regularly performed. Operas with a supernatural subject matter were all the rage in early 19th Century Germany. In this, and in its conventional structure, Wagner’s Dutchman looks back towards older models. However, in terms of its harmonic development, use of orchestra, and dramatic fluidity, it gives us a glimpse of Wagner’s later, more revolutionary works.

Conductor, Jack Ridley, gives us a suitably fluid reading in this semi-staged production by Persona Arts. His is a dramatically compelling interpretation, full of detail, dynamic contrast and expansive phrasing. He really moves the action on with urgency and momentum; a must when conducting Wagner. This is a young and upcoming conductor with a career to watch.

The production boasts an impressive group of soloists. All are well-cast from a vocal and dramatic perspective. Mari Wyn Williams, singing with power and sensitivity, brings a blend of girlish naivety and moral strength to the role of Senta. This is a character full of questions and ambiguity: is she really a young woman touched by the hand of fate, or just a crazy, mixed-up kid with a Daddy fixation? Williams’ realisation entertains both possibilities.

Gerrit Paul Groen as Senta’s father, Daland, is a true Wagnerian Bass with a well-grounded tone that is at once rich and brilliant. Byron Jackson invests the role of the Dutchman with pathos, vulnerability and vocal warmth. Heldentenor, Anando Mukerjee, is suitably heroic, but capable of exquisitely balanced pianissimos when they are called for. His aria in the final act was of particular note. The role of Mary is a rather thankless, school-mistress part to play. In it, Laura Woods projects convincing maternal concern through a full-bodied mezzo voice.

While all soloists are convincing individually, the production suffers from a light directorial touch. Semi-staged performances must convince without the benefit of sets, elaborate costumes or effects. To do this they need a tight and sustained focus on the intention behind the dynamics of the stage action. This seems to be lacking, so that excellent, individual performances never seem to really gel. Also, during the extended passages of orchestral introspection, so typical of Wagner’s operas, the energy loses direction and seems to drift.

There are some issues with the orchestra as well. In this peformance, the overture was marred by fluffy brass work, and strings that seemed to scurry rather than flow through rising passage-work. In general, one rather came to dread the very many interjections by solo brass instruments, particularly the horns, and this made the whole performance feel rather amateurish. However, as the evening went on, things improved and, after the interval, the band delivered a rollicking opening to the final act, and a shimmering, transcendental finale.

The largely amateur chorus does sterling work; singing with a richness of tone and giving commitment to the drama. However, there are problems with sight-lines to the conductor. This, and spatial distance, resulted in the chorus towards the start of the final act – which involves on and off-stage singers - coming adrift.

The additon of a children’s chorus before the start of the Overture, in a specially commisioned composition by Bobbie-Jane Gardner, while pleasing in itself - and beautifully composed and sung – was misplaced and added nothing to the delivery of the opera.

However, Persona Arts are to be applauded for its goals and inclusive approach, and for bringing such an ambitious project to the stage so convincingly.

Cast

Gerrit Paul Groen – Daland

Mari Wyn Williams – Senta

Anando Mukerjee – Erik

Laura Woods – Mary

Christian Joel – Steuermann

Byron Jackson – Holländer

Central England Camerata

Leader: Anna Downes

Birmingham Choral Union

Chorus Director – Colin Baines

Children’s Commission Composer – Bobbie-Jane Gardner

Creatives

Conductor – Jack Ridley

Director – Iqbal Khan

Assistant Director – Dewi Beryl Johnson