| Date and venue | Title |
|---|---|
| 6-Apr-2013 Theatre Royal | Dutchman flies into north-east Scotland |
 In Harry Fehr’s much-anticipated new production of The Flying Dutchman for Scottish Opera, the setting is in Scotland – as Wagner had originally intended before a last-minute switch to Norway during rehearsals for the first production in 1843. Fehr also brings the setting to the north-east of Scotland in the 1970s, a time when Scotland was getting to grips with North Sea oil, and indeed, a silhouette of an oil rig emerging out of a bluish fog is depicted on the front stage gauze.Read full review... | |
| 16-Mar-2013 Birmingham Symphony Hall | CBSO and Andris Nelsons: The Flying Dutchman in concert |
 Andris Nelsons followed up his 2012 Tristan und Isolde with a stirring performance of Wagner’s breakthrough work, Der fliegende Holländer, with a fine array of soloists and the CBSO in Birmingham.
Read full review... | |
| 9-Mar-2013 Dorothy Chandler Pavilion | LA Opera's Flying Dutchman sails past the point |
 While the term “Eurotrash” gets thrown around more often than it should, it is one that has unfortunately become synonymous with many of the Wagner opera productions that take a non-traditional approach. As opera-goers go, I tend to sympathize with the directors and find that this approach can work fantastically well in bringing Wagner’s logistically impossible scenarios to life. Los Angeles audiences are all too acutely familiar with such controversial productions, having experienced Achim Freyer’s polarizing telling of The Ring just a few years ago.Read full review... | |
| 15-Dec-2012 Southbank Centre: Queen Elizabeth Hall | Gloom, doom, stormy seas, and a Dutchman flown over from Zurich: A concert Flying Dutchman in London |
| Opera being a strongly visual art form as well as a musical one, the idea of a pure concert performance seems a little strange to those unfamiliar with the form. However, removing the necessity for singers to run around (often in uncomfortable-looking costumes), negotiate (sometimes uncooperative) props and scenery, and bodily convey their thoughts and feelings in a manner visible to amphitheatre Row W, allows for 100% concentration on the music, in particular the expression of character and emotion through voice alone. Read full review... | |
