This operatic entertainment for young people starts in the form of a play, with a group of children preparing an opera, a Victorian tale called The Little Sweep. Then comes the opera itself. Prix Italia-winning director Petr Weigl adds yet another ‘frame’ to Britten’s original in the form of his own zany preamble: a surreal, slapstick sequence introducing a cast of quirky characters who later form the audience for the children’s performance. He sets his film at the turn of the nineteenth century with elegant period costumes and settings.
Peter Grimes
From the English National Opera 1994: Tim Albery’s startlingly original treatment of Britten’s vivid tragedy was hailed as a landmark production when it was staged at the English National Opera. The critics were unanimous in their praise of Philip Langridge’s remarkable portrayal of Grimes, and the whole company, including Janice Cairns, Alan Opie and Ann Howard, won countless accolades, as did the inspired musical direction of conductor David Atherton. The individual set against the community: this is the theme of the opera and never has this stark opposition been so sharply realised as in Albery’s very abstract vision. Hildegard Bechtler’s stark but beautiful sets underline Grimes’ alienation. (Sung in English)
Death in Venice
From the Glyndebourne Touring Opera 1990. Stephen Lawless’s production, conducted by Graeme Jenkins, won universal critical praise, typified by The Financial Times: “One may wonder whether the score has ever sounded fuller, richer in colour and content, more beautiful, than it did in [this] production… It opens a new chapter in the opera’s performance history.” Britten’s final opera, a haunting rendering of Thomas Mann’s story of obsessive, self-deluding love, features outstanding performances by Robert Tear and Alan Opie.” (Sung in English)
Billy Budd
A cast of luminaries supported by the English National Opera gives a profound and masterful reading of Britten’s gripping opera of sadism and injustice aboard a British man-o’-war this month. Following the widely acclaimed Peter Grimes, released on Arthaus in May 2003, this production reunites Tim Albery’s direction with the phenomenal talent of Philip Langridge, often acclaimed as a natural successor to Peter Pears. The libretto, by E.M. Forster and Eric Crozier, is based on the literary masterpiece by Herman Melville and tells the tale of a young seaman, Billy Budd, who is persecuted malevolently by his master-at-arms, Claggart. Accused of mutiny, the stammering Budd accidentally strikes Claggart dead and the tormented Captain Vere has no alternative but to hang him. The opera explores many universal themes – the individual at odds with society, the corruption of innocence, the continual conflict of good and evil – which no doubt lay close to the heart of Britten’s own pacifism and are themes common to much of his dramatic music.
This production has Britain’s leading operatic baritone, Thomas Allen, in one of his most distinguished roles, as Billy. He is noted not only for his superb abilities as a singer, but also for his acting skills, particularly necessary for the demanding role of the naive and virtuous character of Billy Budd. Philip Langridge as Captain Vere repeats his recently highly-praised portrayal.
The Rape of Lucretia
This specially-staged studio recording of the English National Opera’s highly-acclaimed production of Benjamin Britten’s work features outstanding performances by Jean Rigby as Lucretia and Richard Van Allan as Collatinus. Anthony Rolfe Johnson and Kathryn Harries sing the Male and Female Chorus who poignantly comment on the brutal rape of Lucretia by Tarquinius, Prince of Rome. With ist bare scrubbed boards, ist sliding screens – against which the characters sometimes appear in silhouette – and ist high-railed gantry from which the Chorus observe, both Graham Vick’s staging and Russell Craig’s severe designs have a cool, elegant simplicity. With no extraneous movement or gesture to distract the eye, everything is focused with a luminous intensity on the ritualistically compact unfolding of the drama and the inescapable fate of her characters. This ascetic production tellingly matches the austere restraint of Britten’s first chamber opera, scored with sparse texture for a mere twelve instruments, a limitation over which Britten triumphed to produce music of deeply moving intensity.
This innovative production is a fine example of the exciting and imaginative work that is characteristic of the English National Opera.
Gloriana
From the English National Opera 1984 Sarah Walker stars as Queen Elizabeth I of
England in a production by Colin Graham which succeeds memorably in capturing Britten’s dramatic
blend of passionate music, pageantry and psychological intensity. The relationship between the
ageing queen and the young Earl of Essex (Anthony Rolfe Johnson) throws into focus her lifelong
dilemma – the conflict of duty and personal love. “An operatic feast not to be missed” (The
Times). (Sung in English)
Curlew River
A desolate landscape, a grieving mother and a ferryman who has seen the truth. When Benjamin Britten transported an ancient Japanese Noh play to the reedbeds and rivers of his native East Anglia, the local became universal. Part opera, part ritual, part haunting meditation on love and loss, Curlew River is a music drama like no other and in 1998, artist from both Japanese and western traditions came together at Aix-en-Provence to create it anew. Directed by Yoshi Oïda with a superb international cast, the result was simultaneously timeless and urgent. This live recording captures the moment with unforgettable immediacy and power.
RCO: War Requiem
Witnessing a performance of Benjamin Britten’s monumental War Requiem is an experience. Scored for orchestra, large chorus, children’s choir and three soloists, it is certainly a challenge to perform. Gianandrea Noseda makes his debut with the Concertgebouw Orchestra with a work he has championed and for which he has received critical acclaim in performances and on record. In 1964, the Concertgebouw Orchestra performed Britten’s War Requiem under the direction of Bernard Haitink with the ‘dream team’ Britten had actually envisaged for the world premiere two years earlier: the Russian soprano Galina Vishnevskaya, the English tenor Peter Pears and the German baritone Dietrich Fischer-Dieskau. Now the Royal Concertgebouw Orchestra has again invited a Russian soprano, an English tenor and a German baritone.
MSO: Sir Andrew Davis conducts 20th-Century Classics
Conducted by Sir Andrew Davis with Australia’s violin master Richard Tognetti, this concert features Vaughan Williams’ The Lark Ascending which was placed No. 1 in the ABC’s Swoon Classic 100 countdown in 2015. The work itself remains a glorious evocation of English pastoral life — the solo violin being the evocation of George Meredith’s soaring verse. Benjamin Britten’s Four Sea Interludes from Peter Grimes convey all the scrunchy saltiness of the coast of his beloved East Anglia. The program also includes the Partita for Violin and Orchestra by Witold Lutoslawski, and Sergei Rachmaninoff’s vibrant Symphonic Dances.