BaL 8.04.23 - Britten: Peter Grimes

**Master Jacques** · 08-04-23, 10:54

Originally posted by Ein Heldenleben View Post

Worthy winner. I saw him live at ENO - that final scene unforgettable . ENO Chorus and orchestra were also,stunning. As indeed were the latter in Die tote Stadt last week if I can put in a plug for the beleaguered band.

That was indeed a very good production: the great thing about Langridge in the theatre was the crystal clarity of his diction - every word perfectly enunciated, without any damage to musical line. I'd like to see Nicky Spence trying the role out today, as a similarly gifted singer. He does good brutal, too.

**Eine Alpensinfonie** · 08-04-23, 15:22

I was a little disappointed that the Colin Davis recording with the Real Ellen Orford (Heather Harper) didn’t get a mention.

**Master Jacques** · 08-04-23, 17:18

Originally posted by Eine Alpensinfonie View Post

I was a little disappointed that the Colin Davis recording with the Real Ellen Orford (Heather Harper) didn’t get a mention.

Certainly Davis/Vickers/Harper would be my own first choice, thanks to the faultless supporting cast, and - as you say - the only authentic and real Ellen Orford. Presumably Ms Kennedy was put off by brutal Mr Vickers. Davis conducts it best, too, in my opinion. And the recorded quality sounds great.

**ardcarp** · 08-04-23, 17:46

I enjoyed today's today's BAL very much and thought Kate Kennedy expressed her views well.
Forgive a ramble about tenors. The evolution of the 'English tenor voice' has always fascinated me. The typical one always had a light, lyrical, effortless sound, perhaps best exemplified by Wilfred Brown (in Dies Natalis, for instance). Peter Pears had a massive effect on the style, and while many tenors kept to the original unforced voice, many more began to incorporate some (or all) of Pears' tight-throated and highly expressive manner. Bostridge didn't but Tear did, in spades.

Tear made his operatic debut in 1963 as the Male Chorus in Britten's The Rape of Lucretia with the English Opera Group (EOG);[4] the composer approved of Tear's performance, and invited him to understudy Peter Pears in the original production of Curlew River at the Aldeburgh Festival in 1964.[1] Tear then played Peter Quint in a production of The Turn of the Screw, before joining Britten and the EOG in a four-week tour of the Soviet Union in September and October 1964.[1] Britten wrote two roles with Tear's voice in mind: Misael in The Burning Fiery Furnace (1966) and the title role in The Prodigal Son (1968)

Langridge is somewhere in between...very expressive...and having heard him (live) sing in Elagr's 'The Dream of Gerontius', I was an instant convert. However, Gerald English was a polar opposite, and the easy way he did the Evangelist in Bach's Passions was unbelievable. (He came to live near me in Devon when he returned from the antipodes in his 90s.) I heard Britten's Peter Grimes live with Pears (can't remember where or when...it was in student days)) and it really isn't quite the same without him. But I was happy to settle for Langridge,

**Chimp** · 08-04-23, 18:11

Originally posted by Eine Alpensinfonie View Post

I was a little disappointed that the Colin Davis recording with the Real Ellen Orford (Heather Harper) didn’t get a mention.

The last time they did Grimes the Davis/Vickers was first choice. An astonishing portrayal, magnificently conducted and yes Harper is superb.

**Chimp** · 08-04-23, 19:18

Originally posted by ardcarp View Post

I enjoyed today's today's BAL very much and thought Kate Kennedy expressed her views well.
Forgive a ramble about tenors. The evolution of the 'English tenor voice' has always fascinated me. The typical one always had a light, lyrical, effortless sound, perhaps best exemplified by Wilfred Brown (in Dies Natalis, for instance). Peter Pears had a massive effect on the style, and while many tenors kept to the original unforced voice, many more began to incorporate some (or all) of Pears' tight-throated and highly expressive manner. Bostridge didn't but Tear did, in spades.

Langridge is somewhere in between...very expressive...and having heard him (live) sing in Elagr's 'The Dream of Gerontius', I was an instant convert. However, Gerald English was a polar opposite, and the easy way he did the Evangelist in Bach's Passions was unbelievable. (He came to live near me in Devon when he returned from the antipodes in his 90s.) I heard Britten's Peter Grimes live with Pears (can't remember where or when...it was in student days)) and it really isn't quite the same without him. But I was happy to settle for Langridge,

Gerald English - Sir John Barbirolli (Schubert/ Britten/ Sibelius) [CD] 5060244550964 | eBay

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Brand spanking new item from reputable UK company with 35 years� experience in retail and over 1 million eBay items sold and counting! Please note not all our new items are shrink-wrapped.Disc 11. Adagio Molto - Allegro Vivace2. Andante3. Menuetto: Allegro Vivace4. Allegro5. Prologue6. Pastoral7. Nocturne (Extended)8. Elegy9. Dirge10. Hymn11. Sonnet12. EpilogueDisc 21. Allegretto2. Tempo Andante, Ma Rubato3. Vivacissimo4. Finale: Allegro Moderato

There's a fascinating Serenade for Tenor Horn & Strings with English, Baumann, Barbirolli and the Cologne RSO on ICA

**smittims** · 09-04-23, 07:08

Coincidentally yesterday I almost tripped over my old Philips box of the Davis/Vickers/Harper recording, which I bought when it came out c.1977 (?). I knew the interpretation from when their stage production was broadcast live on Radio 3 some years earlier. It was my introduction to the work and I've always felt Vickers and Harper were more real and credible than others.

Not everyone agreed. I don't know if you remember that delightful little record shop in Cecil Court over 40 years ago where they used to sell deletions: 'I don't agree when he says one cannot compare the two recordings of Peter Grimes. Of course one can compare them: one is a performance of Peter Grimes; the other is an ego trip for Mr. Vickers.'

As Alan Bennett says 'I didn't say anything' .

**Bryn** · 09-04-23, 07:55

Originally posted by smittims View Post

. . . I don't know if you remember that delightful little record shop in Cecil Court over 40 years ago where they used to sell deletions . . .

Orchesography, originally opposite Ballet Books, then later moved across to be beside each other (same owner, IIRC). I was a regular in Orhesography in the 1970s and '80s.

**smittims** · 09-04-23, 12:37

That's the one. Probably the most witty conversation I've overheard in any retail establishment!

**LHC** · 09-04-23, 14:30

Originally posted by smittims View Post

That's the one. Probably the most witty conversation I've overheard in any retail establishment!

I was in there once when someone came in and asked if they had a recording of Lloyd Weber's Requiem.... Comments on the quality of Lloyd Weber's piece were thankfully saved until after the customer had left the shop empty-handed.

**Bryn** · 09-04-23, 14:51

Originally posted by LHC View Post

I was in there once when someone came in and asked if they had a recording of Lloyd Weber's Requiem.... Comments on the quality of Lloyd Weber's piece were thankfully saved until after the customer had left the shop empty-handed.

David at Orchesography and I would often engage in banter about various musical issues. In finding that I was interested in early Philip Glass compositions he whipped out a couple of complimentary tickets to the then E.N.O. production of Akhnaten and gave them to me. Not his kind of music, it seemed. On a rather later occasion, after they had moved across the Court he berated me for choosing a CD of the Ives Concord Sonata played by Werner Bärtschi in preference to Marc-André Hamelin's first recording of the work. I had previously heard of neither pianist and had based my choice on the former's inclusion of the ossia parts. David was quite right, of course.

**Maclintick** · 09-04-23, 16:20

Originally posted by Chimp View Post

The last time they did Grimes the Davis/Vickers was first choice. An astonishing portrayal, magnificently conducted and yes Harper is superb.

Britten's own version, plus Davis and Hickox would appear to cover all bases, but I'm hoping last year's ROH Deborah Warner production with Allan Clayton in the title rôle and Mark Elder in the pit will make an appearance on DVD, by all accounts it was unmissable (kicks himself for missing it...)

**Ein Heldenleben** · 09-04-23, 18:58

Originally posted by Maclintick View Post

Britten's own version, plus Davis and Hickox would appear to cover all bases, but I'm hoping last year's ROH Deborah Warner production with Allan Clayton in the title rôle and Mark Elder in the pit will make an appearance on DVD, by all accounts it was unmissable (kicks himself for missing it...)

Yes indeed I’ve got all three. I missed the Clayton because we were promised a cinema relay which never happened. As you say kicking myself but mildly annoyed with the whims of the ROH..

**Lordgeous** · 09-04-23, 20:04

A reasonable BAL but didn't learn anything new about this terrific piece. Nothing I heard made me want to buy another version to supplement my Britten. Some of the orchestral detail in other recordings was excellent but I hated the stage acoustic on the Glyndebourne 'live'.

**Pulcinella** · 09-04-23, 20:22

Started listening to the Haitink version today, previously unheard, till I realised it's part of the EMI 37CD Collector's Edition that I have.

Apart from a rather refined (refayned?) chorus, I'm so far very impressed!