Opera on 3 - 17.02.14 at 7.30 p.m. -Turnage's "Greek"

[Eine Alpensinfonie]

Mark Anthony Turnage's Greek, in Michael McCarthy?s award-winning production for Music Theatre Wales, from the Linbury Studio Theatre at the Royal Opera House, Covent Garden.

First performed in 1988, Greek was Turnage's first opera and it confirmed him as a major voice on the British contemporary music scene. With Turnage's typically muscular fusion of classical and jazz influences, and a hard-hitting libretto adapted from Steven Berkoff?s verse play of the same name, the opera is a version of the Oedipus story, relocated to the East End of London. Oedipus, the tragic hero who kills his father and marries his mother, becomes Eddy (Marcus Farnsworth), a young man who tries to escape his fate.

It's presented by Sara Mohr-Pietsch, who talks to Mark-Anthony Turnage in between the two acts.

Eddy.....Marcus Farnsworth (Baritone)

The remaining characters are shared between the company as follows:
Eddy's Mum/Waitress/Sphinx.....Sally Silver (Soprano)
Eddy's Sister/Waitress who becomes Eddy's Wife/Sphinx.....Louise Winter (Mezzo-soprano)
Eddy's Dad/Cafe Manager/Chief of Police...Gwion Thomas (Baritone)

The Music Theatre Wales Ensemble
Michael Rafferty (conductor).

[edashtav]

Mark-Anthony Turnage GREEK from Linbury Studio Monday Evening 17th February

Mark-Anthony Turnage's Greek recorded at the Linbury Studio Theatre at the Royal Opera House, Covent Garden was broadcast in the Monday evening “Opera” slot on the 17th February.
Eddy ..... Marcus Farnsworth (Baritone)
Eddy's Mum/Waitress/Sphinx ..... Sally Silver (Soprano)
Eddy's Sister/Waitress who becomes Eddy's Wife/Sphinx ..... Louise Winter (Mezzo-soprano)
Eddy's Dad/Cafe Manager/Chief of Police ..... Gwion Thomas (Baritone)
The Music Theatre Wales Ensemble
Michael Rafferty (conduct

I’m shocked, dismayed and angry that there’s been no comment, thus far, on the fine R.3 broadcast of Mark-Anthony Turnage’s first opera “Greek” from the Linbury Studio, ROH on Monday Evening. With help from Steven Berkoff’s original stage play, Turnage’s opera retains its vitality 25 years on, as a forceful excoriation of Thatcher’s Britain.

In the last few weeks, the lid has been lifted on one aspect of 21c. Britain in C.4’s Benefits Street , whilst the thuggishness and fury that lie just under the surface of 21st century life were exposed in the 2011 riots. The sense of entitlement that underpinned Thatcher’s Yuppies has been mimicked by those in a new generation that believe in their inalienable right to live as they choose whilst in receipt of benefits.

Turnage’s powerful street-wise score remains a parable for our age. He sharpens the edge on street life in a manner that Kurt Weill narrowly missed in Street Scene. Yet suffusing, Turnage’s rumbustious football-chants, the fights over nothing, the naked avarice of “Loads of Money Britain", there’s a aching lyricism that is full of loss and loneliness.

Marcus Farnsworth as the anti-hero, Eddie, was marvellous, the supporting vocal trio were excellent and the chamber ensemble of Music Theatre, Wales were excitingly brash yet embraced and projected the many stretches of yearning melody with great feeling for emphasis and shape. Michael Rafferty ensured that the score's energy and dynamism never wilted.

We must embrace and celebrate the good babies that R.3 showers over us as we busy ourselves throwing out the station’s bathwater.


Please check out Greek on the iPlayer.

[Honoured Guest]

In the last few weeks, the lid has been lifted on one aspect of 21c. Britain in C.4’s Benefits Street , whilst the thuggishness and fury that lie just under the surface of 21st century life were exposed in the 2011 riots. The sense of entitlement that underpinned Thatcher’s Yuppies has been mimicked by those in a new generation that believe in their inalienable right to live as they choose whilst in receipt of benefits.

... and mimicked by an informal cohort of Radio 3 Forum members who believe in their inalienable right to demand that the entire output of a national radio station conforms to their personal whims.

We must embrace and celebrate the good babies that R.3 showers over us as we busy ourselves throwing out the station’s bathwater.

I wholeheartedly endorse that!

[Stanley Stewart]

I do agree, edashtav. However, I'd, erm, posted... elsewhere as I anticipated further comment over here!

Overall, a most absorbing experience. Indeed, the evening as a whole was totally engaging; the interval interview with M- A. T. and the post-performance inclusion of his Viola Concerto and his Lullaby, a tribute to Hans Werner Henze. Full marks for this first rate scheduling. Now preparing to transfer from minidisc to CD-R.

[LeMartinPecheur]

... and mimicked by an informal cohort of Radio 3 Forum members who believe in their inalienable right to demand that the entire output of a national radio station conforms to their personal whims.

HG: beware of tightening up an argument the one extra notch that converts it into nonsense and lies!

Nobody here demands that R3 must serve merely their own personal tastes. The argument, implicit if not actually spelt out in terms each time, is always about what serves the wider national interests, now and a long way into the future.

[ferneyhoughgeliebte]

HG: beware of tightening up an argument the one extra notch that converts it into nonsense and lies!

I think you may be asking for a changing of the habits of a lifetime here, LMP. Still, at least her wholeheartedly endorsing ed's final comment suggests for the first time in her posts, that HG acknowledges that there is "bathwater" that needs "throwing out".

[ferneyhoughgeliebte]

Incidentally, I am "shocked dismayed and angry " that ed should have taken it upon himself to make the "lid-lifting" comments of his OP. Poorly informed and irrelevant to the opera.

[Quarky]

OK in view of positive coments, I will listen again. But I did listen to the first act last night, up to discussion of Oedipus. I found that the accompaniment to the voices was particularly sparse. Just a rhythmic tapping out on drums or somesuch - perhaps even spoons?

[Thropplenoggin]

It's all Greek to me.

[Eine Alpensinfonie]

Threads merged.

[edashtav]

Incidentally, I am "shocked dismayed and angry " that ed should have taken it upon himself to make the "lid-lifting" comments of his OP. Poorly informed and irrelevant to the opera.

My comments may be poorly informed but they are not irrelevant to the impact of the Opera. Times and conditions have changed in Britain but some issues remain just as raw as when Berkoff & Turnage confronted them a quarter of a century ago, IMO, fhg.

[ferneyhoughgeliebte]

Times and conditions have changed in Britain but some issues remain just as raw as when Berkoff & Turnage confronted them a quarter of a century ago, IMO, fhg.

Indeed. I would include three issues in particular:
That it remains a difficult and humiliating task to become accepted onto any benefits system.
That, once on it, it acts as a sort of social Mobius Strip, keeping its recipients dependent and effectively excluding them from the the world of employment, just as it did thirty years ago.
That there are still some elements from the Middle Classes who eagerly seek to castigate those recipients who do not demonstrate sufficient gratitude and servitude for the largesse of the rest of society.

Still don't see how Berkff's play or Turnage's later opera joins the voices of the castigators.

[Quarky]

Mark Anthony Turnage's Greek, in Michael McCarthy?s award-winning production for Music Theatre Wales, from the Linbury Studio Theatre at the Royal Opera House, Covent Garden.

First performed in 1988, Greek was Turnage's first opera and it confirmed him as a major voice on the British contemporary music scene. .

OK listened again to the first act. A lot more music there than on my first hearing. The proportion of singing to Sprechstimme was carefully worked out. But mostly about social commentary. Opera is not my favourite art form, but when I listen, I listen to the music, and the plot is not the main feaure for me.

1988 was the age of Margaret Thatcher, and it seems to me that this opera is very much rooted in that time. I think therefore the Opera is very dated, and don't agree that it has a great deal of relevance to present day.

give me Anna Nicole any day!

[Gordon]

1988 was the age of Margaret Thatcher, and it seems to me that this opera is very much rooted in that time. I think therefore the Opera is very dated, and don't agree that it has a great deal of relevance to present day.

Agreed. I have great difficulty with this piece in knowing what both Berkoff and Turnage, in following him, are trying to say. I have had a recording of it since January 2003 when it was broadcast on R3 in January 2003 during a Turnage Weekend there. Having listened to it a few times since, but failing to connect with it at any level, it seems to me that it does no service either to theatre or Berkoff’s attempt to connect it with the 1980s British political scene. Turnage’s sound world echoes that of Berkoff’s.

This has some useful commentary in which Berkoff [or at least the author] tries to explain what he was about. Unfortunately, perhaps for me rather than anyone else, he fails to convince except perhaps to reveal a bit of pretentiousness. If he wanted to handbag Thatcher there must have been other plays to do it with.

PS that doesn't mean to say that it should not be performed or broadcast! Needless to say I did not listen.

[Honoured Guest]

Gordon, you must be the first person ever to suggest that Steven Berkoff's work is subtle and understated. Maybe if you saw the stage production, you'd experience vivid characterisation, situation and emotion, and you'd appreciate how the music contributes to this.