Ariodante

Sung in English. When this production of Handel’s Ariodante – directed by David Alden and conducted by Ivor Bolton – had ist premiere, it met with unanimous critical and popular acclaim. Alden, as a theatrical modernist, transformed the opera seria into an eroticallycharged nightmare of lust, betrayal and violated innocence. With a superlative cast including Ann Murray, Joan Rodgers and Gwynne Howell this rich and strange Ariodante is a surprisingly modern drama of psychological and physical cruelty.

Ariodante is Handel’s 1735 setting of an episode from Ariosto, in which the King of Scotland’s daughter is treacherously accused of infidelity to her promised husband. The central situation of sexual jealousy and mistaken identity is set amidst a web of intense family

relationships. The range of feelings provoked as the characters develop is caught in music of quite extraordinary emotional power, even by Handel’s own exalted standards.

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.