Children's roles in operas: good (and bad) interpreters

[Pulcinella]

I don't think there's been a thread on interpreters of children's roles in recordings (or live performances) of operas, but I know I've commented on unsuitability (imho) in the past. I was reminded of this recently when I listened to my favourite version of Falla's Master Peter's puppet show (conducted by Argenta), in which Peter has a suitably raucous tone that is probably just right for the role, though I might yet prefer a young lad (can I say that these days?) 'singing' it instead.

I'd be interested to discover who your favourite interpreters are of, for starters,
Miles and Flora (Turn of the screw/Britten)
Master Peter (Falla)
L'enfant (Ravel)
and which recordings to avoid!

[smittims]

I think the singer in the Falla piece is supposed to be raucous. It's some sort of tradition.

I'm afraid I'm not much help in suggesting singers, as I've always been uncomfortable with the idea of child performers in opera.They never seem quite right; and indeed, I wonder how the idea originated . I can understand, for instance,the boys' chorus in Carmen; that's part of the realistic street scene which sets the personal drama into relief.

One you didn't mention is Yniold, in Pelleas et Melisande. This role has often been sung by a petite adult soprano. His repeated cries of 'Petit Pere' are so tiresome to me that I'm in no position to assess the performance!

There was a moving, and slightly upsetting , episode in John Bridcut's film 'Britten's Children' here David Hemmings recalled the moent his voice broke and he had to be replaced by the understudy. Up till then Britten had treated him as a star, but when he was sitting offstage and feeling no doubt disappointed, Britten walked right past him without even a glance. 'That hurt' he said: 'a kind word would have helped.' The truth was , of course , that the composer regarded him as no longer of any use.

[Bella Kemp]

I'm not sure I can recommend any singers, but in George Crumb's Ancient Voices of Children, (obviously not an opera) the boy's voice should certainly be raucous; and Miles' voice in Turn of the Screw should be anything but sweet.

[smittims]

I can't imagine Miles better done than by David Hemmings. His 'I am bad, I am bad, aren't I?', is poignant even to those who find Britten's writing for children's voices mawkish.

I'd be interested to know if Yniold is ever sung by an actual boy. I've always heard it sung by a small woman; indeed, there have been sopranos who specialise in such parts. Does anyone know who R Bredy or Anthony Britten were? According to Google there are 82 Anthony Brittens in the UK.

[Belgrove]

I’d recommend Thomas Parfitt as Miles in the Glyndebourne DVD. It’s a remarkable and unnerving performance, innocence and knowingness by turns. Joanna Songi too as Flora (although she is much older than she looks).

[Master Jacques]

I can't imagine Miles better done than by David Hemmings. His 'I am bad, I am bad, aren't I?', is poignant even to those who find Britten's writing for children's voices mawkish.

I'd be interested to know if Yniold is ever sung by an actual boy. I've always heard it sung by a small woman; indeed, there have been sopranos who specialise in such parts. Does anyone know who R Bredy or Anthony Britten were? According to Google there are 82 Anthony Brittens in the UK.

Anthony Britten did sing Yniold in the Boulez recording, and very well too - though with a little help from Gillian Ramsden in one or two of the more emotional climaxes of Act 3 scene IV. I think he'd sung it for WNO (with Boulez) on stage, before the recording sessions. My favourite singer of the role is Marjorie Westbury, the superb singing actress best known as Stevie in the long-running Paul Temple series on BBC Radio. A boy is best in the part, as Debussy wanted, if you can find the right one.

[Master Jacques]

I think the singer in the Falla piece is supposed to be raucous. It's some sort of tradition.

Yes, the tradition of the 'Trujamán', the narrator in travelling drama companies, especially puppet shows, requires a clear-voiced treble whose voice can carry over a large audience. This role makes no sense without that particular piercing stridency of tone - although I have heard women singing it very authentically, also.

[Maclintick]

I'd be interested to know if Yniold is ever sung by an actual boy.

Jake Arditti sang Yniold in the 1999 Glyndebourne production of Pelleas at the age of 11, & IIRC, also at ENO.

[smittims]

Thanks. As with many opera parts, (Salome's dance for instance) it's a case of finding somone who looks the part and can sing it.