Bryn Terfel on The Flying Dutchman (The Royal Opera)

Bass-baritone Bryn Terfel discusses the complexities of The Dutchman and working with conductor Andris Nelsons in Tim Albery's production of The Flying Dutchman.
Find out more at www.roh.org.uk/hollander
Shortly before the premiere of Der fliegende Holländer in Dresden, Wagner had returned from a deeply unsuccessful two-year stint in Paris. He had gone there to make his fortune, but found his way barred by a strict class-based system. One of the bitterest blows came when Léon Pillet, director of the Paris Opéra, accepted his libretto for Der fliegende Holländer - but then commissioned a score not from Wagner but from French composer Pierre-Louis Dietsch. But the Dresden premieres of first Rienzi in October 1842 and Der fliegende Holländer in January 1843 were immense successes, and marked the beginning of Wagner's career as one of the greatest operatic composers.
Tim Albery's Olivier-nominated production for The Royal Opera delves deep into the psychology of Wagner's cursed wanderer and his beloved Senta, detailing the monomania and uncompromising idealism that finally drives them apart. Michael Levine's elemental single set is dominated by a rolling metal hull that represents the Dutchman's phantom ship, the poverty of Senta's home and the treacherous sea.

[@celloguy]

Terfel easily the best Dutchman I have seen in this ROH production. Incredibly moving vocally and acting. Simply astonishing.

[@ruthofzion]

I seen this wonderful production this evening, Bryn and the cast were superb and the orchestra of the Royal Opera House conducted by Maestro Neilsons was excellent.

[@HandelLover1989]

I'm not fond of Wagner, but quite interesting production, i see... waiting for more materials :)

[@herbertneubacher4757]

How can somebody like Terfel with this weak voice believe that he can create enough demonic for this role. And then running around like a Welsh Farmer but not as dangerous Gost Captain