He showed how to bring Handel up-to-date by setting Orlando at the start of the 20th century, and now Harry Fehr has turned a similar trick with Wagner, bringing his Dutchman ashore from the North Sea to 1970s Scotland.
It is a device that is a complete success in narrative terms. This may be a very domestic version of the story, full of recognisable scenes, but it loses none of the psychological depth that can be over-emphasised, when the piece is played at all. Scottish Opera has taken a work that is more commonly heard in concert performances and made it a perfect follow-up to Massenet’s Werther.
If the director deserves a huge amount of the credit for this, designer Tom Scott’s realistic ship, dockside and community hall sets are just as crucial – and this show is another triumph for choreographer Kally Lloyd-Jones, whose movement of the chorus is masterly.
Musically, the score remains Senta’s and soprano Rachel Nicholls is on top form in the role. Fehr’s production asks for measured performances and she choses carefully when to let rip. Peter Egilitis as the Dutchman appears content to remain an enigma, and slightly underplayed – it is hard to imagine him as Wotan, but that may be to his credit. American Jeff Gwaltney also makes a company debut as George and it would be good to see him again in a bigger role.
Music director Francesco Corti shaped the finale – which was staged beautifully – to great effect, but the orchestra’s first night performance of the overture was diminished by some ragged string playing, while the men of the chorus also took some time to hit their stride in the opening scene.
Four stars
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