Richard Wagner’s The Flying Dutchman draws inspiration from the composer’s stormy sea voyage from Riga to London in 1839. In this fourth revival of Matthias von Stegmann’s 2007 production at the New National Theatre Tokyo (NNTT), the tale of the cursed sea captain roaming the seas in search of redemption through true love remains as gripping as ever. The visually striking stagecraft brings the tragic romance of the Dutchman and Senta to life, but the conviction of the performances varies.
The stage design, though two decades old, still feels fresh and engaging. The stormy sea in the opening scene is evocatively portrayed through a dynamic back screen, setting the tone for the Dutchman’s dark, doomed world. The Dutchman’s ship, painted in vivid red, serves as a haunting symbol of his eternal curse. In stark contrast, the spinning room in Act 2 is bright and lively, reflecting the cheer of the village girls as they wait for their lovers to return. This contrast in lighting, designed by Mutsumi Isono, evokes the chiaroscuro of Caravaggio’s paintings, and the claustrophobia of the spinning room effectively highlights Senta’s isolation within her narrow-minded community.
Musically, the performance offered moments of brilliance and disappointment. Elisabet Strid does a stellar job in portraying a woman consumed by the Dutchman’s legend. Her singing was both powerful and emotionally nuanced, convincingly depicting her unwavering devotion and ultimate sacrifice. Mika Kaneko’s Mary, Senta’s nurse, provided a delightful contrast, with her coquettish charm and cheerful demeanour bringing levity to the otherwise serious narrative.
Jonathan Stoughton’s Erik, meanwhile, fell short of expectations. His duet with Senta in Act 2 showed tenderness, but his voice lost its clarity and power in Act 3, sounding husky at critical moments. Similarly, Teppei Kono, who stepped in for the ailing Evgeny Nikitin as the Dutchman, gave a tolerable but uninspiring performance. While his singing was competent, it lacked the dramatic depth and commanding presence required for the role.
Tatsundo Ito’s Steersman added a touch of charm to the production. His portrayal of the dutiful sailor was serious yet subtly endearing, lending authenticity to the shipboard scenes.
The standout moments came from the New National Theatre Chorus. Their rendition of the spinning chorus in Act 2 and the sailors’ chorus in Act 3 was nothing short of splendid, earning well-deserved applause. The Tokyo Symphony Orchestra, under the baton of Marc Albrecht, provided a solid accompaniment, but failed to fully capture the grandeur of Wagner’s overture and finale. These iconic pieces demand majesty and intensity, but the symphony felt slightly underwhelming and could have benefited from greater energy and dynamic contrast.
Overall, despite strong performances from some of the cast, this revival of The Flying Dutchman struggled to fully deliver the emotional and musical impact of Wagner’s masterpiece. Nevertheless, it remains a testament to the enduring power of Wagner’s story and the creative vision of Matthias von Stegmann. With a stronger musical foundation, future performances could truly do justice to this monumental opera.
Venue: New National Theatre Tokyo
Composer: Richard Wagner (1813-1883)
Libretto: By the composer
Director: Matthias von Stegmann
Conductor: Marc Albrecht
Set design: Yukio Horio
Costume design: Kodue Hibino
Lighting designer: Mutsumi Isono
Cast includes Teppei Kono, Hiroshi Matsui, Elisabet Strid and Mika Kaneko
Until 1st February 2025
Photograph: ©Rikimaru Hotta/New National Theatre, Tokyo
Running Time: 2 hours 45 minutes including 1 interval
Review by Miho Uchida