Britten Operas

[Tsaraslondon]

Nagano's recording of Billy Budd with Thomas Hampson and Hickox's recording with Simon Keenlyside are both excellent (although in the Chandos recording voices are recorded a bit too low). Nagano recorded the original four-act version while Hickox's recording is of the revised two-act version.

Later this year, there will be a new CD recording of Billy Budd from Virgin Classics.
Daniel Harding conducts the London Symphony Orchestra and chorus. And in the leading roles are: Ian Bostridge (Captain Vere), Nathan Gunn (Billy Budd) and Gidon Saks (Claggart). 

I was at the dress rehearsal before the concerts, at which this recording was made. I was, as usual I'm afraid, singularly unimpressed by Bostridge. He didn't, for one minute, suggest why this man would be so revered by the crew of the ship. And, even though this was only a concert performance his on stage mannerisms were distracting in the extreme. Compare his with Nathan Gunn's wonderfully natural presence as Billy, coincidentally the only member of the cast to sing without a score. Gidon Saks was also very impressive. My favourite Vere so far has been Philip Langridge, who, more successfully than anyone, seemed to be able to strike the right balance between the intellectual and the military man.

[bhodges]

Thanks for those impressions, T-C and Tsaraslondon, both helpful.  I'm mixed on Bostridge to date.  I have liked some things I've heard, others left me cold.  But Langridge...what a performer.  I saw him as the Witch in Hänsel und Gretel here recently, and he basically stole the show. 

--Bruce

[Tsaraslondon]

But Langridge...what a performer. 

--Bruce

Couldn't agree more. Still my most memorable Grimes (and I've seen quite a few), though I never saw Vickers live.

[bhodges]

This Met production was my first time seeing Grimes live, and I look forward to the day when I can say I've seen "quite a few"!  During the run, talking with as many people as I could, it was amazing to me how many people actually have seen Vickers, whose performance apparently casts a very long shadow. 

During the intermission feature in the Grimes movie broadcast, they showed a brief excerpt with Vickers that really was quite something, I must admit.  (Must have been quite awhile back, since it was in black-and-white.)  One friend said that as much as she enjoyed Anthony Dean Griffey (and he really was great), Vickers "made her hair stand on end." 

--Bruce

[Wendell_E]

During the intermission feature in the Grimes movie broadcast, they showed a brief excerpt with Vickers that really was quite something, I must admit.  (Must have been quite awhile back, since it was in black-and-white.) 

That black-and-white excerpt was Peter Pears, wasn't it?  Vickers' complete Grimes is available in color on DVD, of course.

[bhodges]

Ah, sorry, you're right.     (Well, he was pretty good, too.  )

--Bruce

[knight66]

I am with those who cannot get on with Bostridge. I have one Handel piece where he sings in a duet really beautifully. Also one Britten disc of the Canticles that I enjoy. Other than that, I divested myself of the discs I had. Each hearing I felt, it was my fault I could not 'get' him. However, I have concluded he is increasingly mannered. He breaks the line to enable him to seemingly be more expressive, but all that apart, I find his tone and voice uningratiating and his range of expression very narrow.

Mike

[karlhenning]

I am with those who cannot get on with Bostridge. I have one Handel piece where he sings in a duet really beautifully. Also one Britten disc of the Canticles that I enjoy.

Oh, I think I may just have that 'un, too, Mike!

[Anne]

IMHO everyone should own that Vickers DVD.

[toledobass]

Ah, sorry, you're right.     (Well, he was pretty good, too.  )

--Bruce

LOL

[(poco) Sforzando]

What do you think of Harding?  I have but a single recording, of him doing some prize-winning new pieces (one of those BBC Music Magazine discs) but have not heard him in anything else.  He seems to get opinions all over the map, from "awful" to "brilliant."

--Bruce

Believe the ones that say "awful." After a friend sold me his under-inflected, slick CD of Beethoven overtures for $6, I turned around and ditched it after one hearing.

[(poco) Sforzando]

Thanks for those impressions, T-C and Tsaraslondon, both helpful.  I'm mixed on Bostridge to date.

I have only one CD of his, one of the Schubert or Schumann cycles (can't recall as I'm away from home). But I rather liked it, despite certain obvious mannerisms. At least he can't be accused of not being interesting.

[bhodges]

I have only one CD of his, one of the Schubert or Schumann cycles (can't recall as I'm away from home). But I rather liked it, despite certain obvious mannerisms. At least he can't be accused of not being interesting.

IIRC I heard him live doing Britten's Les Illuminations, and enjoyed it, even with as you say, some mannerisms.  But he seems like a thoughtful artist.  One friend's comment: she enjoys his voice but can't stand watching him perform.

--Bruce

[T-C]

I have a few Britten CDs with Bostridge that I like very much:

Serenade for Tenor, Horn & Strings; Les Illuminations and Nocturne with Rattle and the Berlin Philharmonic. I think this is an outstanding recording of these pieces.

The Canticles with Bostridge, David Daniels and Christopher Maltman.

Harding's CD recording of The Turn of the Screw.

But I am not sure whether Captain Vere in Billy Budd is suitable for his voice.
Anyhow, I am sure going to find out...

[Susan de Visne]

I don't like Bostridge in opera. He's not a brilliant actor. That said, his Aschenbach (Death in Venice) in London recently was quite well done, and certainly his diction is clear, but he's not a natural on the stage. I wouldn't ever listen to his recordings, but I've heard him live in recital a few times and almost been converted. He did the Britten John Donne Sonnets very well indeed. He's intelligent enough to understand the words, which can't be said of all singers!

I wonder if you know that a black and white BBC TV performance of Billy Budd from 1966, with Pears as Vere, is going to be issued on DVD by Decca sometime this year? Also the 1969 Grimes with Pears and Heather Harper, which was in colour.

[Wendell_E]

I wonder if you know that a black and white BBC TV performance of Billy Budd from 1966, with Pears as Vere, is going to be issued on DVD by Decca sometime this year? Also the 1969 Grimes with Pears and Heather Harper, which was in colour.

Great news!!  This is the first I've heard of their DVD release.

[bhodges]

Great news!!  This is the first I've heard of their DVD release.

Agreed, fantastic news.  Thanks, Susan!

--Bruce

[bhodges]

PBS (on Great Performances) is showing the movie broadcast of Peter Grimes this week.  Here in NYC they're showing it Thursday night at 8pm, and again on Sunday at noon.

--Bruce

[knight66]

The Turn of the Screw: LPO Jacub Hrusa cond: Miaha Persson, Toby Spence, Susan Bickley, Giselle Parfitt, Jonnaa Songi, Thomas Parfitt. Glyndebourne production, director Jonathan Kent.

Name me a great artist who was not flawed. Here we have to face flat on that very thing we worry about in Britten's make up. His predilection for young boys, the desire for which is played out here quite explicitly. If Wagner was obsessed by redemption, Britten dwelt on the corruption of innocence, in this, The Rape of Lucretia, Billy Budd, Death in Venice and even in Midsummer Night's Dream where Oberon carries off Puck.

In most of these pieces desires feed into death.

The original base for The Turn was a Victorian, psychological ghost story. It has been moved to the 1950s and the heritage encasing stripped away. The ghostliness is played down, though you may be seeing what sits in imagination.

Shining bright white light to dispel the gothic original has actually heightened the tensions and you sit in fascinated horror as the piece is given what has to be as near a perfect performance as is possible.

There are only 14 instruments here, but the composer makes it sound like a full scale Debussian, glittering orchestra. But, one savage and beguiling by turn. This is a very tight, exciting and disturbing conception of the music, more hard edged than Britten's or the Davis recording. A veil is removed, a merciless conception.

The singing is all first rate, all the adults are at the top of their game. Persson's English is perfect and she conveys the hope, the innocence, hysteria, doubt and the steel that informs her over involvement with the children especially Miles. She adores him, tries to control him and he creeps her out. She is terrific. Bickley is no cypher and sings gloriously, a pity she did not have more music. But the novelty here is the Quint of Toby Spence. He is no creepy ghost. He looks normal and attractive and dangerous. His voice is beautiful and strong and full. He inhabits the role in a singular and effective way, corrupt and black hearted. His dynamic with Miles is delved into daringly. Miles is played by a 12 year old and he swivels his eyes projecting the ambiguity of him thinking one thing as he sings something quite else. He is knowing without being precocious and he yearns for as well as being scared of Quint. Their main scene is played out with Miles in his bath and being lifted and embraced by Quint.

The set is a character in the piece, a large glass wall that tilts and spins and the stage has two revolving elements: this all works together providing seamless movement from one scene to the next. The lighting adds considerably to the atmosphere.

If you can deal with the themes, then you will never hear or see it better performed.

Mike

[jochanaan]

...If you can deal with the themes...

Desire, hysteria, betrayal, death--these are something new in opera?

Sounds like a great performance!  Wish I could afford it now.