Opera review: The Flying Dutchman, Welsh National Opera

David Lloyd

This production was conceived after the big challenges brought about by funding cuts by external forces which put WNO in a situation where it must be nimbler and more creative than ever. Its resilience is admirable.

As someone who has followed the company from my teens into later life, I felt a sense of both anticipation and trepidation as this production kicked off the short Spring season.

Would a company like WNO be able to emerge from recent stormy waters?

This Flying Dutchman was pared back – no scenery, some props and imaginative lighting and brilliant stage effects by a home-grown production team which includes Jack Furness. They performed miracles with designs that suggested the darkness that lies in the depths of the sea and at the heart of the human soul.

What emerged was both transcendent and transformative with the orchestra under outgoing Music Director, Tomás Hanus, creating a sensation with its playing. It was seamless, stirring, and evocative creating great waves of sound which packed an emotional punch. It matched and mirrored the intensity and drama taking place onstage.

The WNO chorus, which has been through so much, rose to the challenge with singing of great beauty and power – with a sound that was both fierce and tender at times.

This production was cast from strength. Simon Bailey was a Dutchman of great presence, conveying the burdens of his soul with singing of great eloquence that came into its own when he was paired with the Senta of Rachel Nicholls.

She was a revelation portraying a young woman close to the sea and close to the emotional edge.

She offered some wonderful bel canto singing and vocal outbursts that conveyed the fragile state of a woman obsessed. James Cresswell was a tower of strength vocally and dramatically as Darland,Senta’s father who trades her for the riches that the Dutchman offers.

Dramatic commitment

Trystan Llyr Griffiths was a handsome Steersman offering singing of great beauty and showing a dramatic commitment in both his solo moments and as part of an ensemble. He made the most of this role.

At the end Music Director, Tomas Hanus, conducting his last Cardiff performance before he takes up a new role elsewhere, moved us to tears with a gentle but fulsome tribute to WNO from the stage. It has clearly meant the world to him and he to us.

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