Peter Grimes - ROH

[kernelbogey]

To be broadcast in Opera on 3 (according to Martin Handley this morning) on Saturday 23 April at 1830.

[Ein Heldenleben]

For what it's worth, having been at the first night my personal reactions are:

You are unlikely to hear it sung, conducted or played with greater clarity or beauty. Greater visceral impact, perhaps, but only just. This applied across the board. The orchestral playing in particular was astonishing - so much was revealed that is usually subsumed beneath a more general sonic wash. I was very surprised upon checking to learn that Elder has never conducted it in the UK before. I was expecting to find that he'd done 1,379 previous performances at ENO to seemingly be able to reveal so much more than usual from the score. Maybe he has abroad?

On the production I think David Nice has it right. My simpleton's view is that the devastating impact that playing and singing at this level could be expected to have would have been fulfilled if the original setting had been stuck to more-or-less verbatim. There is nothing to really object to - it's not in the league of turning Meistersinger into an allegory on Bre*it ... However, my feeling was that nothing is gained by updating the scenario to the present day - it merely detracts by needlessly creating incongruities. Like all great operas, the key themes are universal. If you need telling that human nature is both complex and just as nasty as it was x00 years ago you've not been paying attention. Creating inexplicable anomalies like a modern-day fisherman unaccountably having an ?8 year old apprentice acquired from a "workhouse" or having John Tomlinson leaning on the seemingly obligatory ultra-wobbly sodium street lamp apparently borrowed from the set of Manon Lescaut/?Katya Kabanova/Cav & Pag is just distracting.

There are a couple of very specific miscalculations. Having Clayton sing the start of Great Bear and Pleiades with his back to the audience - just no. Does it make dramatic sense - yes. But still - no, just no. Also, giving ?Boles something akin to a mere orchestral side drum to whack whilst leading the mob off to Grimes' hut. No, it should be the full-size military marching drum usually employed - the scale and impact of the sound ought to put the fear of God into you, the smaller instrument won't cut it.

Other opinions are of course available, though these are mostly minor cavils. There are certainly impressive aspects too. The setting of the prologue as a fever-dream, a baying mob as terrifying as you could imagine, etc.

A much shorter summary would be: Musically 5*, overall impact diminished a little by the production.

Thanks sounds like a great night. Please tell me the drum didn’t have snares on …BB would not be happy. It has to be a bloody big loud drum !

[Simon B]

Thanks sounds like a great night. Please tell me the drum didn’t have snares on …BB would not be happy. It has to be a bloody big loud drum !

No snares, thankfully. It's presumably another casualty of the updating. It'd be hard to account for a bloke in a dilapidated 2022 English seaside town having ready access to a rope-tensioned field drum. Presumably he's nicked what he has from the band in the boozer - which itself sounds nothing like anything I've heard emanating from dodgy seaside pubs late on a Saturday this century. Had it been, wandering in for a pint without donning the protective gear used by American footballers might seem a less risky prospect...

Besides the exemplary singing, the acting commitment of the chorus was total. The detritus littered about the stage must give the Health & Safety manager nightmares given all the running about. Both Tomlinson and Imbrailo fell over it at some point - it was hard to tell whether it was so convincing because they're excellent actors or whether they just fell over.

Whiny attempts at weak humour aside, once you've decided to update to about-now, it was about as well done as you could hope for. To be fair, the production does an excellent job of delineating all the many secondary characters. There's no beige confusion of who is who or what they're on about.

I've barely mentioned Allan Clayton specifically as there's little useful to be said. It's a surprise to nobody who's heard him before that he is outstanding. Rougher, rawer more extreme assumptions of Grimes are available (Stuart Skelton the obvious recent example) but Clayton's more noble, lyrical approach is equally compelling in a different way.

[bluestateprommer]

You are unlikely to hear it sung, conducted or played with greater clarity or beauty. Greater visceral impact, perhaps, but only just. This applied across the board. The orchestral playing in particular was astonishing - so much was revealed that is usually subsumed beneath a more general sonic wash. I was very surprised upon checking to learn that Elder has never conducted it in the UK before. I was expecting to find that he'd done 1,379 previous performances at ENO to seemingly be able to reveal so much more than usual from the score. Maybe he has abroad?.

Yes, SME has conducted Peter Grimes outside of the UK, at Lyric Opera of Chicago back in 1997:

https://www.nytimes.com/1997/10/06/arts/opera-review-chicago-troupe-rises-to-a-challenge-with-grimes.html

He mentioned arriving in Chicago to start rehearsals in September 1997 in the YT video.

One more review of the ROH production, from Mark Berry at 'Seen and Heard International':

https://seenandheard-international.com/2022/03/peter-grimes-at-the-royal-opera-house-an-outstanding-night-of-theatre/

[Ein Heldenleben]

No snares, thankfully. It's presumably another casualty of the updating. It'd be hard to account for a bloke in a dilapidated 2022 English seaside town having ready access to a rope-tensioned field drum. Presumably he's nicked what he has from the band in the boozer - which itself sounds nothing like anything I've heard emanating from dodgy seaside pubs late on a Saturday this century. Had it been, wandering in for a pint without donning the protective gear used by American footballers might seem a less risky prospect...

Besides the exemplary singing, the acting commitment of the chorus was total. The detritus littered about the stage must give the Health & Safety manager nightmares given all the running about. Both Tomlinson and Imbrailo fell over it at some point - it was hard to tell whether it was so convincing because they're excellent actors or whether they just fell over.

Whiny attempts at weak humour aside, once you've decided to update to about-now, it was about as well done as you could hope for. To be fair, the production does an excellent job of delineating all the many secondary characters. There's no beige confusion of who is who or what they're on about.

I've barely mentioned Allan Clayton specifically as there's little useful to be said. It's a surprise to nobody who's heard him before that he is outstanding. Rougher, rawer more extreme assumptions of Grimes are available (Stuart Skelton the obvious recent example) but Clayton's more noble, lyrical approach is equally compelling in a different way.

During lockdown Allan C did a solo number on the stage at Covent Garden the title of which escapes me . It was a bizarre affair but absolutely compulsive to watch. I thought then that he could just about sing and crucially act anything . A rare talent…

[LHC]

During lockdown Allan C did a solo number on the stage at Covent Garden the title of which escapes me . It was a bizarre affair but absolutely compulsive to watch. I thought then that he could just about sing and crucially act anything . A rare talent…

HK Gruber's Frankenstein!!. A short extract is on Youtube:

https://www.youtube.com/watch?v=uS2J8LFQFHs

[Cockney Sparrow]

Having seen it, the production is just so very good - the quality of everything, sets, lighting - all aspects from the production team and of course from Deborah Warner. The updating works in my view, without reservation. Vocally not a weak point amongst the principals and the chorus were tremendous with great acting/movement and direction (actors as well as chorus). I count myself lucky to have seen and heard Allan Clayton as Grimes - as everyone says, he was superb in the role. (And Terfel as Balstrode and Imbrailo as Keene...I could go on....)

For a piece I have known so well through my life, it was a great night in the opera house, to live on in the memory. (As was the case with the Glyndebourne Billy Budd - also conducted by Mark Elder...).

Great to see the ROH back in such form and delivering such a wonderful experience.

(The website says "sold out" - no surprise after the acclaim. The only chance is the Friday rush, or returns, or..... I did come across a reference to it being available on "ROH stream" but any links are broken on the website. A google search quotes this on the summary "The Royal Opera continues its Benjamin Britten series with Deborah Warner's new production of Peter Grimes. Available to watch for £16 from 8th April until ..." - but again leads nowhere. Appears they reversed the decision to stream it. (I wonder if there will be a DVD - no way to find any indication, as the warning about cameras being present is on the performance date entries and as its sold out, they are not accessible)).

[LHC]

Having seen it, the production is just so very good - the quality of everything, sets, lighting - all aspects from the production team and of course from Deborah Warner. The updating works in my view, without reservation. Vocally not a weak point amongst the principals and the chorus were tremendous with great acting/movement and direction (actors as well as chorus). I count myself lucky to have seen and heard Allan Clayton as Grimes - as everyone says, he was superb in the role. (And Terfel as Balstrode and Imbrailo as Keene...I could go on....)

For a piece I have known so well through my life, it was a great night in the opera house, to live on in the memory. (As was the case with the Glyndebourne Billy Budd - also conducted by Mark Elder...).

Great to see the ROH back in such form and delivering such a wonderful experience.

(The website says "sold out" - no surprise after the acclaim. The only chance is the Friday rush, or returns, or..... I did come across a reference to it being available on "ROH stream" but any links are broken on the website. A google search quotes this on the summary "The Royal Opera continues its Benjamin Britten series with Deborah Warner's new production of Peter Grimes. Available to watch for £16 from 8th April until ..." - but again leads nowhere. Appears they reversed the decision to stream it. (I wonder if there will be a DVD - no way to find any indication, as the warning about cameras being present is on the performance date entries and as its sold out, they are not accessible)).

I haven’t seen anything to suggest they have changed their mind about the future streams which have been advertised. Cosi is also going to be streamed from 24 of this month, but there is also no link available for that. I assume from this that, as the stream of Peter Grimes isn’t due to be available until 8th April, the Opera House website will be updated to provide a link at some point before then.

[LHC]

I haven’t seen anything to suggest they have changed their mind about the future streams which have been advertised. Cosi is also going to be streamed from 24 of this month, but there is also no link available for that. I assume from this that, as the stream of Peter Grimes isn’t due to be available until 8th April, the Opera House website will be updated to provide a link at some point before then.

It seems the stream of Peter Grimes has not been cancelled, but deferred until later this year. The Opera House has released this press statement:

“Please note that Peter Grimes will now be streamed later this year, not in April as previously announced. The response to Deborah Warner’s shattering production has been phenomenal – we apologise for the change and will announce a new stream date later in the year”

[duncan]

As others have said I thought this was a great and very moving night in the Theatre. Tremendous performances, vocally and acting, from principals and chorus. The updating introduced a few anachronisms which didn't worry me too much. A small related point, did the boy need to look about 8? Wouldn't it all still work if he were a (vulnerable-looking) 16 year old?

I had one gnawing concern about the production. I've not read it anywhere else so it's likely it's just me. In the programme and interviews Deborah Warner cogently justifies the updating making the point the villagers of The Borough are also victims of their social circumstances and drawing our attention to places like Jaywick as contemporary equivalents of 18th century Aldeburgh. I read these after watching the performance. As staged, it felt at times as if the Borough "chavs" were good old fashioned working/under-class caricatures that we Covent Garden audience could comfortably feel superior about.

[Cockney Sparrow]

As others have said I thought this was a great and very moving night in the Theatre. Tremendous performances, vocally and acting, from principals and chorus. The updating introduced a few anachronisms which didn't worry me too much. A small related point, did the boy need to look about 8? Wouldn't it all still work if he were a (vulnerable-looking) 16 year old?

I had one gnawing concern about the production. I've not read it anywhere else so it's likely it's just me. In the programme and interviews Deborah Warner cogently justifies the updating making the point the villagers of The Borough are also victims of their social circumstances and drawing our attention to places like Jaywick as contemporary equivalents of 18th century Aldeburgh. I read these after watching the performance. As staged, it felt at times as if the Borough "chavs" were good old fashioned working/under-class caricatures that we Covent Garden audience could comfortably feel superior about.

No doubt the good people in Jaywick, struggling to keep a decent life would take exception to the characterisation as "chavs", and rightly so. However, the production isn't so cynical as a Ch4 reality type series manipulationg the content to almost demonise (I'm struggling to find the right word here) those who struggle in terms of education, opportunity, and life chances - "working class" if you like - I started my life in it, I know what it means (but my community was more comfortable and less stressed). But there will be chavs, and dealers, and chancers amongst them.

However, we know there BNP types, skinheads, a whole section emerging from marginalised groups who enjoy violence. Give them a victim for their hate and they will tag along and join in. When we read about the following of Yaxley_Lennon and his ilk, its not an unknown marginal phenomenon - Warner's depiction is not, in my view, a caricature.

In the pub scene, sheltering from the storm, I would say there were overwhelmingly well meaning people coming through the door - with frailties, but decent enough. Of course what the production shows is how the community can find a victim, and treat them abominably. The departure of the manhunt has never been more terrifying in any production I have seen than in Warner's (/Elder's). The raw power and acting of the chorus (+actors) could hardly be exceeded in any future production.

I'm still thinking of a superb evening of drama and music at the ROH. I would welcome seeing this again in the cinema, as it provides the closest possible experience to the live performance,they are very acceptable - the big screen adds a lot. I would recommend this Grimes, in the cinema, to anyone remotely interested in experiencing opera for the first time. Streaming may have to do, but I hope the ROH is considering a cinema streaming - as they acknowledge there has been an overwhelming reaction for this production.

[duncan]

Thank you for your reply CS. It’s made me think some more about my response to this great production of this amazing piece. As you say, it would work really well in the cinema as long as the sound isn’t overdone.

“Chav” is a horrible term. The quotation marks and link to a review of the Owen Jones book were trying to make that clear. I used it because it’s something someone in the audience might say but it was my mistake not to give a clearer explanation. My thoughts were clearly not what Deborah Warner (or Montague Slater) were intending which is why I thought them worth mentioning.

Reflecting, perhaps part of my response was due to spending my formative years living in a run-down seaside resort not so different from Jaywick. I still return there regularly to see a member of my family. I’ve been going to Covent Garden regularly for 25 years but still feel a bit of an imposter.

Answering my own question about the age of Grimes’ apprentice, in the original Sadlers Wells production he was 14 years old. This would make more sense to me.

[alywin]

(The website says "sold out" - no surprise after the acclaim. The only chance is the Friday rush, or returns, or..... I did come across a reference to it being available on "ROH stream" but any links are broken on the website. A google search quotes this on the summary "The Royal Opera continues its Benjamin Britten series with Deborah Warner's new production of Peter Grimes. Available to watch for £16 from 8th April until ..." - but again leads nowhere. Appears they reversed the decision to stream it. (I wonder if there will be a DVD - no way to find any indication, as the warning about cameras being present is on the performance date entries and as its sold out, they are not accessible)).

It looks rather as though the ROH is revising how it offers its streaming - certainly there haven't been any ballets streamed recently, I don't think, only operas. I imagine they'll be announcing something in the near future.

[Belgrove]

It’s every bit as good as people have said. Saturday night’s performance was conducted by Richard Hetherington following Mark Elder testing positive for Covid. The orchestra were on blistering form. Where appropriate it was as swift and as ferocious a rendition of the score as I’ve heard, and as meltingly tender where it needed to be. The precision of the playing was exemplary and it struck me how rhythmically complex the work is (the timpanist works overtime). There is luxury casting throughout and Allan Clayton has given a rendition of the title role which will be regarded as important in the history of the work. And the production should be too, through updating it to the present, concentrating on its psychological depths. As has been noted, some of this updating jars with the text, but these do not cause a heinous distortion. Grimes is in a profoundly disturbed state from the outset, the inquest being replayed in his tortured dreams, and he imagines a figure tumbling through the depths or the air, recurring in each act, representing the fate of the apprentices or even that of Grimes. The chorus lifted the roof with their blood-curdling calls for ‘Peter Grimes’, as a creepy effigy was violently dashed to the floor with each outburst. This mob was a force as dangerous, capricious and deadly as the sea itself.

There was at least one camera there on Saturday, so a visual record will exist, and it will be broadcast on R3 in April. Not to be missed.

[ostuni]

Just back from tonight’s performance: happy to report that Mark Elder is back in the pit. And I'm very much in agreement with Belgrove's review.