Live, Video: Find classical music concert, opera, ballet and dance reviews | Der fliegende Holländer (The Flying Dutchman)

This bracing performance of The Flying Dutchman is a powerful reminder of the extraordinary musical standards which are at risk in the face of WNO’s subsidy cuts. 

Amid the rough winds of late May, Julia Burbach directs Opera Holland Park's first venture into Wagner – The Flying Dutchman. 

Ireland’s first Wagner opera in over a decade dazzles with a captivating production by Rachael Hewer for Irish National Opera. 

Opera North’s The Flying Dutchman, directed by Annabel Arden, conjures up frightening storms and links the production to the plight of asylum seekers. 

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

OperaUpClose's vision of a dystopian England through Wagner's Flying Dutchman, distilled for chamber forces, receives strong performances from the cast and Manchester Camerata players.

The Flying Dutchman – or Le Vaisseau fantôme as it is known in French – makes a fleeting appearance at the Grand Théâtre de Provence in a rousing concert performance conducted by the dapper François-Xavier Roth. 

Sailor suits and powder-puff bows as Herbert Fritsch directs a colourful new production in Berlin. 

Great performances cannot rescue the Norwegian director's superficial treatment of a classic ghost story.

François Girard’s production presents the moody, stormy atmosphere of Norwegian seascapes with stunning visuals, but offers few fresh ideas on the doomed love between the Dutchman and Senta.

With a glinting voice of a youthful sheen, like bracing Nordic air, Kirstin Sharpin was entirely convincing as the obsessed dreamer, Senta.

The battle of the choirs is a thrilling moment in just about any performance of Dutchman, but produces shock and awe in the live acoustics of Budapest's Bartok Bela Concert Hall.

Bergen National Opera’s new production allows the story to speak to itself, while strong performances from Eric Halfvarson and Elisabeth Teige gave the performance its edge.

Darmstadt's Flying Dutchman was a gripping Romantic ghost story with a stong Senta in Astrid Weber. 

Iain Paterson's house debut as the Holländer was sufficient reason to drop anchor in the Main for this revival of David Bösch's 2015 production. 

Philipp Stölzl's production of Der fliegende Holländer, which places the action within a giant frame in a library, arrives at The Liceu.

Eric’s dream of a love story with no redemption in Christian Spuck's new production of Der fliegende Holländer at Deutsche Oper Berlin. 

Yannick Nézet-Séguin led an intriguing performance of Wagner's Flying Dutchman at the Met with a superb orchestra and an excellent ensemble of singers. 

Christopher Alden's risk-taking, Expressionist-tinged production of the early Wagner breakthrough is provocative in all the right ways.

A disconcerting production of The Flying Dutchman where the staging misses the boat.

Daisy Evans' dystopian, immersive Dutchman for Fulham Opera may be tough medicine – but, with such glorious singing on offer, it's an unmissable chance to step into Wagner's soundworld. 

In James Conlon's final performance as music director of Ravinia, he presented a magnificent Flying Dutchman with a stellar cast.

An updated but otherwise traditional Flying Dutchman directed by Jan Philipp Gloger offers plenty of enjoyment at Bayreuth, although it might not linger in the memory as long as the more controversial fare at the Festival

Der fliegende Holländer at Leeds Town Hall shows Opera North at its most exciting, in a production conducted by Richard Farnes, with Béla Perencz and Alwyn Mellor.

In 2015, The Flying Dutchman is on the roster at the Wagner in Budapest festival. A fine cast and an inventive orchestra under the baton of Adam Fischer are matched with a debatable staging by Balázs Kovalik

A pleasing performance from WNO of The Flying Dutchman, with Eric Owens brooding magnificently over the whole. 

Wagner’s Flying Dutchman with high calibre singing, a magnificent orchestra and innovative 3D effects gets a short yet successful season in Melbourne.

A dark and minimalist staging doesn't quite fire Wagner's Flying Dutchman into life at the Royal Opera House, despite worthy performances from Bryn Terfel, Adrianne Pieczonka and others under the direction of Andris Nelsons.

Christian Thielemann and his orchestra were the stars of an excellent performance of Wagner's Der fliegende Holländer. 

Hungary is a landlocked country. In fact, Budapest is an awfully long way from the sea in all directions. So it’s not the first place you’d expect to come for a production of Wagner’sFlying Dutchman that is gloriously redolent of the sea, both in staging and in the orchestral performance. But that’s what we got last night at the Hungarian State Opera.

It is interesting that neither of the 200th anniversaries of Verdi and Wagner have received much attention in Oslo, especially when compared to the frenzy that has been dominating so many concert halls and opera houses all over the world. What is even more interesting is that it has only been the Oslo Philharmonic that has paid any kind of attention to the two composers.

What happens when the director develops in directions the company neither wanted or expected? For San Francisco Opera’s new Der Fliegende Holländer, this discovery led to decisive action: director Petrika Ionesco was sacked just before the opening.

Wagner’s The Flying Dutchman is a tale not only about redemption through love, but also about the helpless plight of human beings in the face of wilful and vindictive supernatural forces. In the hands of Wagner, the mythical Dutchman, instead of being a collector of itinerant souls at sea, has become an intrepid adventurer condemned to eternal maritime wandering.

The sole complete opera contribution to Wagner’s anniversary in Auckland this year came in the form of New Zealand Opera’s production of Der fliegende Holländer. This was the first staged performance of a Wagner opera in Auckland for over 20 years (though we’ve had a few in concert), and it is a pleasure to report that New Zealand Opera welcomed the master back with a fascinating performance.

If an evocative and provocative crowd-pleaser is your preferred summertime fare, then catch the new production of Wagner’s The Flying Dutchman at Glimmerglass Festival.Dutchman was Wagner’s first unabashed hit, deservedly so. It is a classic tale of redemption through love, masterfully scored, inspired by a stormy voyage the composer himself made and Heinrich Heine’s retelling of the legend.

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.

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. At a little over two hours, The Flying Dutchman is one of Wagner’s shorter operas, but it shares its supernatural themes with many of his other works.

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.

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.

For any opera lover, a first visit to Bayreuth is something of a pilgrimage to the holy land. Musically, I wasn’t disappointed, as the Dutchman’s leitmotif rose softly from the invisible orchestra, soon to be enveloped by the swirling storm brewed up by Wagner and conductor Christian Thielemann.

Of the various possible ways of conducting Wagner's Flying Dutchman, ENO's Edward Gardner took the direct approach. From the first tremolo string notes, the orchestra launched into the main leitmotif at full tilt, followed by the sound of stormy seas swirling more furiously than you've ever heard them, leaving the audience breathless.

As The Flying Dutchman nears its close, the crew of Daland's ship are celebrating their safe homecoming and yelling at the Dutchman's unseen crew to join them. To their horror, they realise that they have indeed woken the dead: the Dutchman's crew are ghosts who have wandered the oceans for centuries: the storms cannot burst their sails for they are protected by Satan.

Die Regiearbeit von Christine Mielitz überzeugt einmal mehr – jedoch würde man in den nächsten Saison gerne erleben, was musikalisch noch möglich ist.

La FOC presenta su primera producción de una ópera de Wagner, en esta ocasión El holandés errante, con un satisfactorio resultado bajo la atenta dirección musical de Josep Planells.

Seefahrender Konquistador des 16. Jahrhunderts trifft auf ausbeuterischen Plantagenbesitzer des 19. Jahrhunderts: die Regisseurin Anika Rutkofsky veleiht dem Fliegenden Holländer in Nürnberg eine eigene Wendung.

Pleinement respectueuse de l’esthétique de l’époque de la création de l’œuvre, la nouvelle production signée Michel Fau remporte un beau succès à Toulouse, avec une distribution, un orchestre et un chœur excellents.

Música y escenografía se funden en un todo para presentar un embelesador El holandés errante en Les Arts.

Das reine Bebildern ist nicht Sache des Regisseurs Dmitri Tcherniakov. Bei seiner radikalen Lesart der Oper fahren das Gehörte und das Gesehene auf zwei Schienen. Musikalisch ist die Wiederaufnahme ein Hochgenuss.

Tcherniakovs Holländer feiert die erste Wiederaufnahme – mit gestandenen Festspielgrößen und einer eindrucksvollen Debütantin.