BWW Reviews: An Adrift FLYING DUTCHMAN Makes Port at Washington National Opera

There's a ghostly sailing vessel making Washington National Opera its port of call. Yet, the closer one gets to this production of The Flying Dutchman the more you notice how directorial and design elements have left it adrift in choppy waters. That isn't to say that the production is bad, because Grammy winner Eric Owens' dynamic performance as the Dutchman is incredible. But this production of Richard Wagner's operatic retelling of the storied nautical myth about a cursed ship could be notably stronger.

At the center of The Flying Dutchman is a story of redemption and eternal love. The Dutchman (Eric Owens) has been left to restlessly wonder the seas after committing an act of blasphemy. He's offered a chance at redemption by an angel, who allows him to dock his ship once every seven years. If the Dutchman is able to find a woman who will be eternally faithful to him, then he will finally be allowed to return home.

Maestro Philippe Auguin excels at bringing Wagner's glorious score to life. Containing one of opera's best overtures, Wagner's use of recurring themes successfully enhances the personality and dramatic tension of the characters. His libretto reaches a surprising level of depth and is amazing in its ability to establish the emotional desires of each character.

As the Dutchman, Owens' performance will leave you spellbound. Owens' Act One aria hauntingly reveals his fate while exploring his exhaustive longing for freedom. Adding to that feeling of an endless search is Owens' bass-baritone voice which is used to convey his hopelessness. The scene is moving; however its clumsy staging by Director Stephen Lawless and a misguided set design by Giles Cadle cause it to be confusing.

A major issue is Cadle's angular, wooden sea-blue set design which fails to distinguish the mysterious vessel from the background it suddenly appears against early in the opera. Featuring metallic masts, bright red ropes and lacking any character, the set comes off as too modern, taking away from the opera's nautical mythology. This leaves the audience questioning the setting and dynamics of the story. By lacking clarity, it fails to establish the misgivings of the Dutchman's situation and his foreboding presence.

In Acts Two and Three the staging greatly improves due to the singular focus of the opera's setting. Here, the story moves to the home of Daland (Ain Anger) where we first watch as his crews' wives prepare for their husbands' homecoming. Daland's daughter Senta (Christiane Libor) devotedly sings to them the story of the mythical Dutchman.

Libor's German soprano is captivating as we learn of Senta's obsession with the Dutchman's tale. When they both meet later in Act Two, the dramatic tension and curiosity between Libor and Owen finally allow the Flying Dutchman to soar. Here the marriage of Wagner's music and the libretto, along with Cadle's design, finally come together in a scene that is especially moving.

We see the possibility of one character's freedom juxtaposed against another's sacrifice. Cadle's design compliments the scene by having the back wall open to show the night sky and stars - a symbol that maybe fate is finally aligning for the Dutchman.

Estonian Bass Angler is solid portraying Daland's shallowness and the ease at which he's blinded by the treasure provided by the Dutchman in exchange for Senta's hand in marriage. Tenor Jay Hunter Morris gives a compelling performance as Senta's devoted former boyfriend Erik. Together with Libor and Owens, they form a powerful love triangle in Act Three where we learn what the true cost of marriage between Senta and the Dutchman will entail.

In addition to Act One's staging fumbles, Lawless' direction could be crisper overall. Wagner's libretto contains several clever and humorous lines, many of which failed to generate a laugh. Better direction could have highlighted these moments, and caused less confusion in the early scenes.

Adding to the darker elements of the production are the costumes of Ingeborg Bernerth and Joan Sullivan-Genthe's lighting design. Bernerth has costumed the Dutchman in a dark, well-worn fur coat giving Owens a chilling presence. Most of the costumes have a nondescript feel which seems appropriate for the opera's Norwegian village setting. However, both use red to foreshadow the dark fate that surrounds the Dutchman. Sullivan-Genthe mixes a twinge of red against the dark blue of the sea as the two ships first meet in Act One. Later in Act Three, Bernerth chooses red as the main theme of her costumes when the contents of the Dutchman's ship are revealed.

Passionate performances by Libor, Morris and Owens are what propel an otherwise adrift Flying Dutchman. Clearer staging and dynamic direction could have made this production of Wagner's classic opera thrilling.

Performed in German with English subtitles.

Run time is two hours and 20 minutes with no intermission.

Washington National Opera's The Flying Dutchman thru March 21st at the John F. Kennedy Center for the Performing Arts 2700 F St NW, Washington, DC 20566. For tickets, call (202) 416-8000 or purchase them online.

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