Praise for The Flying Dutchman

Rebecca Nash (Senta). Philip Newton photo

"(Stage Director) [Christopher] Alden returns to Seattle after a long hiatus. He was last invited here for a Don Giovanni in 1991 that reportedly generated a heated audience backlash. Kudos to general director Aidan Lang for inviting him back: Dutchman, which closes Lang's second season at the helm, signals a serious commitment to opera and is the finest production the company has staged to date under his watch."- Bachtrack 

"['The Flying Dutchman'] clocks in at under two and a half hours (without intermission)... the impassioned singers, the clever staging and the imaginative sets are so consistently engaging that Seattle Opera’s performance just speeds by." - The Seattle Times

Members of the Seattle Opera Chorus in The Flying Dutchman. Philip Newton photo

"On Saturday night in Seattle, in a revival of this Canadian Opera Company 1996 production, what happened on stage can only be described as stunning ... I was left gobsmacked unable to write-so moved I was by this show. It has taken me 24 hours to recover." - National Opera Journal

"Director Christopher Alden makes full use of the ingenious Allen Moyer set, with elements that quickly switch locales from shipboard to shore without any major breaks in the action. Anne Militello’s inventive lighting designs underscore and clarify the story line with jaw-dropping effects." - The Seattle Times

Seattle Opera presents The Flying Dutchman. Philip Newton photo 

"Seattle Opera’s production of Wagner’s The Flying Dutchman opens with one of the most arresting curtain-raisings I’ve seen from the company: the cast filling Allen Moyer’s set, a cavernous box-within-a-box that is tilted 10 degrees or so off level. It’s an immediate cue that this isn’t going to be a traditionalist staging..." - Seattle Weekly 

"The Seattle Opera Chorus sang with gripping vitality, even while executing some [vigorous choreography]." - The Queen Anne News

"Wagner intended the opera to be presented without breaks between acts and the Seattle Opera in this production honors his 'through-composed' vision to great effect. (And for those who were a little scared of being subjected to 2.5 hours of uninterrupted opera the program likened it to the length of time we all have sat through a movie)." - The Seattle Times

Nikolai Schukoff (Erik). Philip Newton photo

"This cast boasts two excellent tenors with fresh, flexible, lovely voices: David Danholt as Erik, Senta’s betrothed, rightly peeved when she decides to wed the Dutchman, and Colin Ainsworth as the ship’s Steersman. Danholt was a winner of the Seattle Opera’s 2014 Wagner Competition, Ainsworth is making his company debut; I hope they both return soon and often." - Seattle Weekly

"In Saturday’s opening-night cast, the great strength and experience of the principal singers brought an unmistakable authority to their performances." - The Seattle Times

"The Dutchman was played on this night by Greer Grimsley. Grimsley has a swarthy dark voice that while powerful, is also versatile. It is easy for these Wagnerian singers to belt their way (at their peril) through these roles, but Grimsley always finds the color and the essence of the character." - National Opera Journal

Greer Grimsley as The Dutchman. Philip Newton photo

"In his Seattle Opera debut, Nikolai Schukoff as Erik, the huntsman in love with Senta, was as much the star of the evening as Grimsley and Nash. With his warmly expressive tenor, Schukoff was heart-rending in Act 3 reminding Senta in vain about her previous vow to him of love and fidelity." - The Queen Anne News

"In Saturday’s opening-night cast, the great strength and experience of the principal singers brought an unmistakable authority to their performances. The Dutchman, bass-baritone Greer Grimsley, is a familiar figure here (most impressively as Wotan in Seattle Opera’s “Ring”); he probes every nuance of the title role as a captain doomed to sail the seas in a ghost ship until he is redeemed by true love. With Grimsley’s commanding stage presence and resonant voice, this is a role that suits him admirably, and one he has frequently sung. The experience shows." - The Seattle Times

"Allen Moyer's unit set was an austere rectangular box dominated on one side by a massive steering wheel and a metal spiral staircase on which the Dutchman's 'ascension' played out in the denouement. The exaggerated tilt of the box recalled the Expressionist atmosphere of films like The Cabinet of Dr Caligari. In the opening scene this served handily as a 'realistic' representation of Daland's storm-tossed vessel." - Bachtrack

Members of the Seattle Opera Chorus in The Flying Dutchman. Philip Newton photo

"His Senta, Australian soprano Rebecca Nash, is making her Seattle debut — and what an interesting debut it is. Nash is a passionate singing actor with a voice of considerable heft and power." - The Seattle Times

"The Steersman, Colin Ainsworth, [was] the most lyric voice on the stage. Vocal beauty is still important in Wagner, and Ainsworth brought loads of it." - National Opera Journal

"Nikolai Schukoff, as her unsuccessful and hapless suitor Erik, is an ardent singer who becomes a tragicomic figure in this staging, with exaggerated attitudes of suffering that draw some audience laughter. (Alden has him attempting suicide in several positions with a rifle whose barrel is too long for the task.) You’d think that chuckles might be inappropriate in this ultraserious opera, but they humanize the characters and give more poignant depth to the denouement." - The Seattle Times 

Wendy Bryn Harmer (Senta) and Alfred Walker (The Dutchman). Philip Newton photo

"... Wagner was well aware of the dangerous potential art possesses when the goal is no longer escapist entertainment. So is director Christopher Alden, whose production (originally created for Canadian Opera Company two decades ago) mirrors the young composer's sense of thrilling new horizons beyond routine and convention. With a cast of powerhouse singers, this Dutchman sustains an arc of high-voltage tension, refusing to loosen its grip until the final blackout." - Bachtrack 

"As Senta’s father, the sea captain Daland, Daniel Sumegi creates a memorable portrayal with his mighty voice and his deft acting. Colin Ainsworth is a lyrical Steersman and a highly effective actor; Luretta Bybee does fine work in the shorter role of Mary." - The Seattle Times

Colin Ainswroth (Steersman). Philip Newton photo

"Conductor Sebastian Lang-Lessing, who made his Seattle debut with the company’s 2014 International Wagner Competition, coaxed vivid and exciting performances from an orchestra that knows this composer inside and out." - The Seattle Times

"Sunday’s alternate cast created a remarkably different show. In the title role, Alfred Walker was a strong actor with a warm tone that didn’t quite have the heroic presence that Wagner requires. Wendy Bryn Harmer was a standout Senta with a big, radiant voice; David Danholt (one of the winners of Seattle Opera’s 2014 International Wagner Competition) sang with artful clarity as the ill-fated Erik." - The Seattle Times

Rebecca Nash (Senta), Daniel Sumegi (Daland), Luretta Bybee (Mary). Philip Newton photo

Remaining performances of Seattle Opera's The Flying Dutchman: May 11, 14, 18, 20, & 21. Tickets & info: seattleopera.org/dutchman. #SODutchman 

Meet our singers: ALFRED WALKER—The Villians

With a magnificent, agile bass-baritone, plus a commanding stage presence, Alfred Walker is totally unforgettable as the four nemeses in The Tales of Hoffmann. According to The Seattle Times, his performance includes singing of "showstopping quality." Dressed in blue with slick shades, he initially draws audience members in as the haughty Councilor Lindorf before taking them on a ride through the insane world of the unhinged Coppélius. As Dr. Miracle, he oozes malevolent mystery, and as the smooth-talking Dapertutto, he enslaves Giulietta with seductive prowess. We spoke with this New Orleans native, (who now calls the woods of New York’s Hudson Valley home) about his return to Seattle six years following his debut here as Orest in Elektra (2008).

What’s the challenge about playing the bad guys in The Tales of Hoffmann?
They all have to be bad, interesting, and connected by a common thread—the challenge is to find that.

Can you describe that process?
It’s both mental and physical. The villains are all crazy and off-kilter, but in different ways. You have to find how to make each character come to life physically—each character needs to walk differently and sound different, too.

Do you have a favorite among them?
Dr. Miracle. His part is the closest to what my voice does naturally in terms of range and style. But I love all of them.

Alfred Walker (Dr. Miracle), Arthur Woodley (Crespel) and Russell Thomas (Hoffmann) in The Tales of Hoffmann. 
Elise Bakketun photo

Was this part originally written for four different people to sing?
That’s a really good point. Traditionally, it was four different people; the parts are so different vocally, with a huge range and different quality required from part to part. I think the most difficult one, oddly, is also the shortest one: Dapertutto—you need a lyric baritone (I’m a bass baritone). There’s some very high singing there. For Coppélius, you have to be sure not to sing in too serious of a tone (he’s a very weird character). Lindorf is very elegant, but very arrogant. I like to think of myself as a nice guy, but you have to get used to the idea that people will see you onstage playing this character and think, “Oh my gosh, what an awful man!”

With your voice-type, do you often get cast as the villain?It depends. Villains are often lower voices, but you have to have a quality in your voice that makes you intimidating, and not every deep voice type can do that. Some lower voices are beautiful; others have more range and a variety of colors. Usually, I either play the villain or someone really strange.

Keith Jameson (Andres), Alfred Walker (Lindorf) and Leah Partridge (Stella) in The Tales of Hoffmann. 
Elise Bakketun photo

Have you come to terms with that?
Yeah, that’s how it goes.

What’s different about this production?
For one thing, the costumes are fantastic. The first day I got fitted I said, ‘Wow!’ I also love Chris Alexander’s direction, as well as all the stage magic and tricks.

Do you have to do any of those tricks?
They’re all kind of done for me. I just wave my hand, and they happen, which makes me look pretty powerful.

Alfred Walker, (Coppelius) in The Tales of Hoffmann. Elise Bakketun photo

Do you have to be over-the-top or, is there more subtlety in your approach?
Both! While these characters are over-the-top what makes them interesting is that they can change unexpectedly. You don’t know what to expect. One minute they’re calm, the next minute, they’re angry and shouting.

How do you juggle the demands of your career with family and relationships?
It’s so hard. We have pets and a lot of friends; I also have a big family in New Orleans. In the morning, I usually dedicate my time to phone calls, checking in with family and friends. Being on the West Coast, it’s easy. When I’m in Europe, it’s harder. Skype is also extremely helpful. I need to maintain these relationships; they’re part of the reason I’m doing this.

What’s your performance regime?
I think it’s important not to do anything to tip off your body that something big is coming up. I know some people who don’t eat a certain item on performance day, or they don’t talk at all. That just makes me too nervous! I need my regular routine.

What do you enjoy most about coming to Seattle?
The coffee! Also, I love the people in Seattle. You guys are different…you’re West Coast people, but different from California (and that’s a good thing!). I love how you embrace your weather here and find beauty in it. When I see people walking around without umbrellas, I put mine away, too. I want to fit in. I have my raincoat and that’s enough. I love that.

So, what’s The Tales of Hoffmann about? Everyone seems to have a slightly different answer.
I think it’s about the villains! They are Hoffmann’s demons, his shadow side. In each story, he intends to do something, but I destroy it. All of us have a shadow side, and we fight to keep it at bay, that’s part of what makes us human. Also, that’s what drives this particular opera.

Alfred Walker (Dr. Miracle) and Leah Partridge (Antonia) in The Tales of Hoffmann. 
Elise Bakketun photo

Do you have a favorite moment in the show?
When the prologue starts and the chorus comes out and starts singing before Hoffmann comes in. I love that music so much. It makes me happy.

How did you start singing?
Our college had a chorus, and a good friend of mine was interested in auditioning. You see, there were quite a few cute girls in the chorus (every time I tell this story, I’m kind of embarrassed!). I auditioned for the choirmaster, and I think I only got in because they needed lower voices. The choirmaster asked, “What voice type are you?” and I said, “A tenor!” (laughs) That’s how little I knew about music. He said, “You don’t sound like a tenor.” We started vocalizing and I started screaming. I think I sang a low C, and he said, “You’re definitely not a tenor, you belong in the bass section.” From then on, I started voice lessons with Phil Frohnmayer, a Professor of Voice at Loyola University. He said, “You don’t know how to sing at all, but I think you have a world-class voice.” When I finished with my psychology degree, I decided that I was going to pursue opera. My family thought I was nuts. Phil actually took me through years of studying. I did the Young Artists Program at The Met, but he’s been my only teacher and a real father to me.

Alfred Walker (Lindorf) in The Tales of Hoffmann..
Elise Bakketun photo