Magazine article The Spectator

Britten Surprises

Magazine article The Spectator

Britten Surprises

Article excerpt

Opera North

Of all Britten's operas Peter Grimes is the one I have seen most often, and it remains not only the one that I find it hardest to make up my mind about, but also the one which I still don't feel I know especially well. There are the famous passages, not only the sea interludes but also Grimes's monologues, 'Now the Great Bear and Pleiades' and his big tune, sung first to the words 'What harbour shelters peace?', there is Ellen Orford's touching, rather less famous Embroidery aria in Act III, which is a passage of genuine repose in this restless and often angry score; and there are the famous set choral pieces, 'Grimes is at his exercise' and the terrifying shouts of the villagers in hot pursuit of him. But I always find, and am not by any means sorry that I do, that there are passages that I had hardly noted before which strike me as interesting or surprising, and that the overall shape of the acts, which tend to move, after the Prologue, from the whole community to a concentration on the central figure alone, is less clear than that summary suggests.

Grimes is such a remarkable piece that one tends to overlook how early it comes in the composer's development, with only the passingly appealing but deeply unsatisfactory Paul Bunyan preceding it in his large dramatic output. I suppose it is the sheer ambition of Grimes which makes one judge it with unforgiving rigour. Britten never really aimed so high and comprehensively again:

Billy Budd is his only other opera which is comparable, for though Gloriana has the aspect of pageant, it is au fond a work of chamber textures and the relationship of the central figures to the community in which they live is not worked out in anything like the way it is, or tries to be, in Grimes. And while Budd makes one, or anyway me, feel very uneasy because its homoerotic subtext so often threatens to surface but never quite does, while remaining ubiquitous, Grimes doesn't have that, though the relationship of Grimes to his apprentices is obscure.

Like everyone else, when I saw Opera North's production in October 2006 I was bowled over by it, and in Phyllida Lloyd's spectacularly uneven career as an opera producer -- she was responsible for the ENO Ring, one vengefully remembers -- it ranks very high, probably top. Yet seeing it again I was, though impressed by the handling of the crowd scenes, and by many particular strokes, inclined to feel that it takes the attention in the wrong direction. It does much more than any other production I have seen to suggest developments in Grimes's most important relationships. …

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