In the Folkoperan version of The Flying Dutchman, things are not what they usually are - the characters have swapped fates with each other, the orchestra is dismissed (“Wagner without an orchestra? Impossible!”) and the theme of love is, literally, lost at sea.

In the world of opera, many will claim that this is something you just don’t do to Wagner. Especially not this year.

How can Folkoperan convey their different take on the opera in a program that both explains the plot and the characters while not giving away the new ending?

The central theme is rescue, how another human being can save you from your destiny, put into a maritime context.

The program is modelled after the symbols, colours and signage on board ferries which aid passengers in an emergency.

The characters are presented as safe on board illustrations, expressing their respective ambitions and hopes, for example:

The Flying Dutchman - condemned to sail the seven seas, whose greatest desire is to break the curse and step ashore.

Senta – frustrated by her small-town life, longing for change and someone to come and take her away.

In almost every review of the opera the advertising and program was referenced and used as an orientation for what made the Folkoperan version different from others. While the opera wasn’t to everyone’s taste - no full orchestra and changing the characters’ destiny made sure of that – the visual identity helped define the public's perception.