The central dramatic situation of the opera, based on Henry James’s novella, lies in the conflict between the governess and two evil spirits, the former servant Quint and the former governess Miss Jessel, both of whom exerted a great influence on the two children and who after death – at least this is what the governess believes – are trying to establish their hold over the youngsters. The question of whether the ghosts really exist or are only a figment of the young woman’s feverish imagination remains open in the Henry James tale. Indeed, in the opera the ghosts are seen and heard; consequently, in the film, Petr Weigl leaves open the possibility that they are only imagined by the governess. The viewer can decide whether “The Turn of the Screw” is a fairy-tale battle between good and evil or a tragedy about destructive influences on inexperienced youth. Britten’s score stands in contrast to the abundance of ideas to be found both in the literary model and the libretto. The score is tighter and the music formally more consistent than in his other operas. The work consists of a prologue and 16 scenes which are connected by orchestral intermezzos – variations on the main theme. This main theme is a 12-tone scale which, however, Britten in no way considered to be a negation of tonal hierarchy, but rather as a ramification of that technique. “The Turn of the Screw”, written in 1954, was premiered that same year at the Teatro La Fenice in Venice with the English Opera Group.
Salzburg Festival 2013: Britten, War Requiem
“Intensive, touching… a deeply moving plea for peace” (News) – Benjamin Britten’s War Requiem marks the composer’s 100th birthday with a stellar Salzburg Festival cast: Anna Netrebko, Ian Bostridge and Thomas Hampson in the solo parts, accompanied by the Orchestra dell’Accademia Nazionale di Santa Cecilia under the baton of Antonio Pappano. A “truly moving” performance, according to La Stampa newspaper.
Britten: War Requiem
Fifty years to the day after its premiere, Andris Nelsons celebrated with his orchestra, the City of Birmingham Symphony Orchestra (which also gave that first performance), Benjamin Britten’s War Requiem through a special anniversary performance given at Coventry Cathedral, the site of its first performance, starring Erin Wall, Mark Padmore and Hanno Müller-Brachmann.
Britten’s String Quartets – Belcea Quartet
The Belcea Quartet is one of the world’s leading chamber music ensembles, having won many international accolades. Now, with the string quartets, the musicians have rediscovered a gem of twentieth century chamber music. “Here is a composer moving gently and magically from the Romantic and Classical canon towards aural visions of lightness, of sublimated pain and brooding escapism. Shame on those who do not know these pieces.” (Süddeutsche Zeitung). The Belcea Quartet succeeds in an outstanding manner in holding the balance between the youthful exuberance of the first two quartets and the lyrical solemnity and sweet morbidity of the third.
Lucerne Festival: Simon Rattle conducts Britten and Bruckner
Another late summer highlight at Lucerne Festival: Simon Rattle and the Berliner Philharmoniker presenting works by Benjamin Britten and Anton Bruckner. Britten gethered eight musical-poetic night pieces together under the title ‘Nocturne’: Musical settings of English poets throughout the centuries perfomed by tenor Ian Bostridge. This cycle of orchestral songs is coupled with Bruckner’s ‘Swan Song,’ his last symphony, which was unfinished and which he dedicated to ‘Dear God’ – Symphony No. 9 in D minor.