Irish National Opera's Compelling Rendition of Wagner in Dublin

Dublin recently played host to a significant operatic event: the Irish National Opera's presentation of Richard Wagner's Der Fliegende Holländer (The Flying Dutchman). Captured live on March 27 at the distinguished Bord Gáis Energy Theatre, this production underscored the company's artistic ambition and burgeoning stature within the operatic landscape.

Established in 2018, the Irish National Opera has swiftly distinguished itself through its eclectic programming, spanning from the Baroque era to contemporary works. Their commitment to accessibility is equally notable, with performances staged across numerous venues throughout Ireland. Their staging of Holländer at the expansive 2,100-seat Bord Gáis Energy Theatre, a notable architectural design by Daniel Libeskind, certainly represented a pivotal moment for the institution.

A Powerful Voyage on the High Seas

For even the most discerning Wagnerian, this particular Dutchman offered a compelling and invigorating experience. Artistic Director Fergus Shiel conducted with a palpable drive, extracting a vibrant sonority and propulsive momentum from the score. While his approach favored intensity, the resulting performance was undeniably stirring. The chorus, a vital component of the opera's dramatic fabric, embraced their demanding vocal and theatrical roles with considerable energy.

The soloists, too, delivered performances of notable caliber. Tenor Gavan Ring, in the lyrical role of the Steersman, projected a robust sound, even amidst the physical demands of the staging. Bass James Creswell presented a formidable portrayal of Daland, the Norwegian sea captain. Soprano Giselle Allen, as Daland's daughter Senta, evinced a fervent conviction in her character's deep-seated fascination with the cursed Dutchman. The poignant tenor Toby Spence depicted Erik, Senta's rejected suitor, with appropriate pathos.

The Dutchman's Profound Presence

In the pivotal title role, Jordan Shanahan commanded the stage not merely through vocal power but with a nuanced interpretive depth. His dark, resonant bass-baritone conveyed a smoldering intensity, and his meticulous articulation of the text imbued it with profound expressiveness, transcending linguistic barriers. Shanahan's physical bearing—a medium stature, robust build, regal posture, and a striking "pirate's mane and beard" framing a "wide-open moon face"—combined with a palpable reserve, allowed him to hold the audience's gaze, particularly through his attentive stage presence.

Director Rachael Hewer's production introduced several inventive concepts. A notable extended mime during the overture, featuring a young Senta (Caroline Wheeler) engrossed in storybooks, sought to illuminate the origins of her imaginative world. While this sequence was generally effective, certain directorial decisions offered a contemporary reinterpretation that might diverge from traditional expectations. For instance, the transformation of the spinning room—a customary social hub for the seafarers' womenfolk—into a "fish cannery" and the depiction of Erik, the huntsman, as a "grocer in a butcher’s apron" laden with mundane provisions, presented a distinctly modern, perhaps even prosaic, perspective.

Critical Reception

Reviews for the Irish National Opera's Der Fliegende Holländer were largely positive, acknowledging its significance as the company's first foray into Wagner and the first fully staged Wagner opera in Ireland in over 13 years.

• Seen and Heard International hailed it as "another resounding success" for the Irish National Opera, praising Rachael Hewer's effective direction, Francis O'Connor's set design, and strong vocal performances, particularly from Jordan Shanahan and Giselle Allen. Conductor Fergus Sheil was commended for coaxing "elemental sonorities" from the orchestra. (Review by Seen and Heard International)

• The Arts Desk, however, found that the production "simply doesn't fly," despite strong casting and orchestral playing. The reviewer, David Nice, criticized Rachael Hewer's "static or inept staging," particularly highlighting unnecessary "business" that undermined crucial moments. While vocal performances were praised, the direction was seen as a significant weakness. (Review by The Arts Desk)

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• telescoper.blog offered a positive view, highly recommending the production as an excellent introduction to Wagner. The review noted an intriguing preamble during the overture with "Little Senta" and lauded the high quality of the cast, orchestra, and chorus, singling out James Cresswell as Daland. (Review by telescoper.blog)

• OperaWire commended Rachael Hewer's "innovative and imaginative staging," which offered a clear narrative with subtle, effective tweaks. The review praised the strong musical performance under Fergus Sheil, and highlighted Jordan Shanahan's mysterious presence, Giselle Allen's convincing portrayal, and the energetic chorus. (Review by OperaWire)

• Bachtrack described the production as a "captivating, triumphant debut" for the Irish National Opera's venture into Wagner. Director Rachael Hewer's straightforward approach, set in a 1950s fishing village, and the strong vocal performances, especially by Jordan Shanahan and Giselle Allen, were highly lauded. Conductor Fergus Sheil was credited for drawing out the score's emotional richness. (Review by Bachtrack)

• No More Workhorse praised the production as a strong rendition of Wagner's first great opera. The review highlighted the powerful performances from the principal cast members, the vibrant singing of the choruses, and the excellent sets and costumes by Francis O'Connor, all supported by Fergus Sheil's able conducting of Wagner's "epic score." (Review by No More Workhorse)

Importantly, this compelling production of Der Fliegende Holländer is available for online viewing, allowing a wider audience to experience the Irish National Opera's ambitious staging. It can be accessed here: OperaVision: The Flying Dutchman.

Despite some interpretive liberties and varied critical opinions on the staging, the Irish National Opera's Der Fliegende Holländer unequivocally affirmed the company's artistic ambition and its capacity to deliver a compelling and thoughtfully conceived Wagnerian performance.