Meanwhile, Jonathan Kent's sometimes imaginative, sometimes annoying new production for the English National Opera is set nowhere in particular: the whole of Act I takes place in the she's-read-too-many-storybooks mind of Senta as a young girl.
In yet another time-warp, the Act III party scene subjects Senta (who has become a sort of she-wolf by her embrace of the Dutchman's satanic curse) to gratuitous gang rape by the chorus, costumed as characters in some weird video game.
This means that the entire drama has to be carried on the ample shoulders of the grown-up Senta, Orla Boylan, whose display of passion is so convincing that her odd wobble of pitch only adds to our conviction that she's determined to stand by and save her man.