AFTER its distinguished progress through Wagner’s Ring cycle, given in annual instalments from 2011, Opera North has now turned its attention to The Flying Dutchman, which the composer regarded as the true starting-point of his career.

The company’s tried and tested semi-staged format, in the Victorian reaches of Leeds Town Hall, allows the extended orchestra the full width of the stage, in full view. This is the key to the evening’s success, along with the absence of any interval between the three acts. Richard Farnes has already established his credentials as a consummate Wagnerian, and conducts again with unflagging mastery of the score. The orchestra shows stamina to match.

Behind and above the stage a permanently billowing sail carries a diversity of maritime images, some moving, some still, with occasional visions of vessels and rigging, or a staring close-up of the mysterious Dutchman. Designed by Peter Mumford, who also directs the staging, these provide atmosphere but do not distract. Mumford also uses blood-red lighting when the voyager or his crew are in focus.

Audience backs almost visibly straightened during the electric overture at Saturday’s opening night. The tension barely relented thereafter. The orchestra played out of its skin, alive to Farnes’s every nuance. The storm was terrifying in its immediacy.

The evening was not all fireworks, however. Senta’s ladies, front-stage, responded to her ballad so tenderly that their voices seemed to coming from elsewhere. They also injected what little light relief was to be had. Like their male counterparts, who were in the risers behind the orchestra, they were extraordinarily focused, their ensemble absolutely watertight.

Another breath-taking moment came when Senta turned to see the Dutchman for the first time: music and staging were in perfect alignment.

Fotini Dimou’s costumes were regulation 19th-century, but included a long coat for the Dutchman, crusted with foam and ice, well matching his extended locks. Béla Perencz had a stentorian gravitas in the title role, but loosened up sufficiently to make his great duet with Senta a masterpiece of barely suppressed passion. Alwyn Mellor delivered Senta’s ballad engagingly, but took time to focus her later top notes. Her wig was no help to youthfulness.

Mats Almgren made an amiable Daland, and Mark le Brocq a pleasing Steersman. Mati Turi showed admirable, almost elegant, fervour as Erik. But the laurels went to Farnes’s chorus and orchestra. A riveting evening.

Further performance at Leeds Town Hall tomorrow night, then on tour; visit operanorth.co.uk for more details.