BBC Proms: Peter Grimes, English National Opera/ BBC Symphony Orchestra, Knussen | Classical music reviews, news & interviews
BBC Proms: Peter Grimes, English National Opera/ BBC Symphony Orchestra, Knussen
Stuart Skelton shines in the Britten opera and Claire Booth rescues Debussy
After the all-singing, all-dancing, all-helicoptering brilliance of Stockhausen Mittwoch aus Licht, the dry routine of an opera in concert didn't seem a very enticing prospect. That's the problem with this year's Cultural Olympiad. We're becoming very spoilt by it. What should have been a mouth-watering prospect - a fantastic cast performing a great opera - suddenly began to feel run-of-the-mill when compared to the once-in-a-lifetime event that was Mittwoch. But my concerns were short-lived.
I saw and loved the original ENO production of Peter Grimes, Benjamin Britten's brilliant cautionary tale about little England. And, though the ENO didn't do as much as other companies often do to resurrect the look and feel of productions that they're bringing to the Royal Albert Hall, the cast retained as much of the dramatic tension and surreal character of the original David Alden staging as they could. Memories of the production were strong, however. And I began to yearn for some visual activity in the First Act, where the lack of dramatic momentum in the libretto slightly drags.
We mustn't forget the townsfolk. They make this opera
Then again, who needs sets when you have Ed Gardner and the ENO Orchestra. His shaping of the music was vivid, alert, muscular and magisterially long-sighted. This was music one could see as well as hear. The surety of the orchestra no doubt helped the cast and the choir focus on delivering the complexities of the drama so compellingly and fluently.
With Amanda Roocroft far from her best as Ellen Orford (Grimes' champion), the night belonged to Stuart Skelton's Peter Grimes, whose eloquence and elegance of voice was breath-taking and whose characterisation couldn't have been bettered. The paralysing confusion that grips Grimes as misfortunes and mistakes push the village into a witch hunt against him was played without cliche or extremity and touched us all.
Roocroft (pictured right) was less impressive than I remember her in the original production. Her voice wasn't working for her. Iain Paterson, however, made a fine Balstrode, and delivered the lines that send Grimes to his grave with great skill. Though the nieces were never going to make the impact that they did in the original production where they slithered about eerily like the twins from The Shining, Gillian Ramm and Mairead Buicke were still nicely peculiar, as was Rebecca de Pont Davies's eccentric Auntie. Mark Richardson was a decent last minute stand in for an indisposed Matthew Best as Swallow. But it was Leigh Melrose's shady Ned Keene and Dame Felciity Palmer's prying Mrs Sedley that our eyes were constantly drawn to.
We mustn't forget the townsfolk. They make this opera. And the ENO Chorus (under the direction of the chorus master Aidan Oliver) delivered every blast of indignation, nosiness and hypocrisy with brilliantly committed and authentic little Englander venom.
We at The Arts Desk hope that you have been enjoying our coverage of the arts. If you like what you’re reading, do please consider making a donation. A contribution from you will help us to continue providing the high-quality arts writing that won us the Best Specialist Journalism Website award at the 2012 Online Media Awards. To make a one-off contribution click Donate or to set up a regular standing order click Subscribe.
With thanks and best wishes from all at The Arts Desk
more Classical music
Britten's fusion of war poetry and Latin mass shouldn't be the everyday occasion it was here
Weighty English song, Parisian froth and French baroque music from Caracas
A blistering finale to the LSO's triptych of 20th-century music
Breathtaking vocal line-up raises the roof at this Scouse tribute to Wagner
Bernard, Bruckner, and bikes: the second extract from flautist Gareth Davies's new book about the LSO
The first of two extracts from a new book by LSO flautist Gareth Davies follows the orchestra to the US a century ago
A pair of 20th century symphonies and a spiky Stravinsky ballet score
Andrew Litton's performance of Britten's paean to peace left one stirred and humbled
Infinite depths and dazzling orchestral breadth in the great Russian pianist's latest recital
Wagner and Vivaldi go head to head in a festival of old and new
A classic among modern operas, contemporary music from Bulgaria and some slimmed-down Wagner
Berlioz drowns out nationalism in a summer evening festival of unity