FWSO’s ‘Dutchman’ delivers world-class opera in semi-staged splendor

CONCERT REVIEW:

Fort Worth Symphony Orchestra
April 5, 2025
Bass Hall
Fort Worth, Texas – USA
Fort Worth Symphony Orchestra, Robert Spano, conductor. Cast: Greer Grimsley (The Dutchman), Heidi Melton (Senta), Viktor Antipenko (Erik), Raymond Aceto (Daland), Luretta Bybee ( Mary), Jonathan Kaufman, (Daland’s Helmsman); Kantorei Chorus; A Capella Choir of the University of Texas at Arlington. Creative: Greg Emetaz, projections; Alex Mason, lighting; Nicole Alvarez, costuming.
Richard WAGNER: Der fliegende Holländer (“The Flying Dutchman”)

Gregory Sullivan Isaacs | 17 APR 2025

This past weekend’s Fort Worth Symphony Orchestra concerts in Bass Performance Hall were announced as a semi-staged version of Richard Wagner’s opera, Der fliegende Holländer (“The Flying Dutchman”). Such hybrid musical events have a long history of presentations by American symphony orchestras, as well as a wide variety of definitions. Traditionally, this is different from what is called a “concert version,” which does not attempt any hint of staging, costumes, sets, or props.

The FWSO’s presentation was a definitive demonstration of how to semi-stage an opera without it seeming to be a stripped-down version. Instead of sets, Greg Emetaz’ projections, ably assisted by Alex Mason’s lighting, dramatically filled the entire space on the front of Bass Hall’s stage from floor to ceiling. The roiling ocean created the perilous storm right from the first notes of the brass-driven overture.

All the singers were top-notch, with superlative international reputations, especially in Wagnerian roles.

The excellent chorus was assembled from Fort Worth’s Kantorei Chorus and the A Capella Choir of the University of Texas at Arlington. Seated behind the orchestra, they delivered a full-throated performance of Wagner’s extensive choral work. Costumer Nicole Alvarez dressed the leads in dark and flowing costumes that, despite their general similarity, were different enough to enhance the singer’s vivid characterizations.

As the ghostly Dutchman, Greer Grimsley immediately set the dark and menacing atmosphere that hung over the entire production. Grimsley commanded the stage with both his physical and vocal presence. The flexibility of his deeply resonant bass-baritone voice allowed him to show the complexity of the character rather than the “standard villain” we usually get.

The dramatic soprano, Heidi Melton, delivered the evening’s other towering performance in the role of Senta. Her big voice makes her a natural for the Wagnerian repertoire, yet she also has an exceptional lyric quality that is sometimes lacking in other such singers. In the hands of these two, the scant and creaky plot blossomed into an involving love story of dedication, loss, and eventually, salvation.

The other cast members were all excellent and, better yet, believable. As Senta’s overeager father, Daland, Raymond Aceto’s deep bass voice offered a difference from Grimsley’s sonority. Tenor Viktor Antipenko delivered a convincing portrayal of the jilted lover, Erik. As the ship’s inattentive Helmsman, Jonathan Kaufman displayed a sturdy tenor with an almost baritone quality. Mezzo-soprano Luretta Bybee gave a convincing portrayal of Mary.

Jonathan Kaufman as the Helmsman in the FWSO's semi-staged petformance of Wagner's 'The Flying Dutrchman.' (credit: Karen Almond)

Jonathan Kaufman as the Helmsman in the FWSO’s semi-staged performance of Wagner’s ‘The Flying Dutrchman.’ (credit: Karen Almond)

Over it all, conductor Robert Spano was magnificent. He delivered an expansive yet detailed reading of Wagner’s early effort to create a new art form for the operatic stage. Wagner’s music can be overblown so the big moments lose their impact. Not so here. Everything was in balance. Dynamics were carefully planned and in scale with the singers throughout. He kept the performance moving while still giving the performers some interpretative freedom.

This was as successful a performance of the opera as you would experience in any of the world’s great houses. The descriptor “semi-staged” was soon forgotten within moments of the overture’s thunderous opening. ■

About the author:

Gregory Sullivan Isaacs is a Dallas-based composer, conductor, and journalist. He is also a coach and teacher with a private studio.

Read more by Gregory Sullivan Isaacs.