BaL 8.04.23 - Britten: Peter Grimes

[smittims]

Thanks for those Orchesography anecdotes, which revived my memories of the atmosphere. I remember once a coloratura aria from an Italian opera was playing; man and woman entered the shop , looked at each other and left. One of the proprietors said, 'well, it's high and in a foreign language , what more do they want?'

[LHC]

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...)

It was indeed very good and will be well worth seeing if and when it turns up on DVD or the ROH streaming service.

Peter Grimes has been particularly fortunate to have generally received high quality productions at the Opera House and at ENO. Although the Warner/Clayton production was a particular highlight for the Opera House last season, I still marginally preferred the Opera House's previous productions; the Willy Decker production with Ben Heppner (before he lost his voice) was more abstract but still very moving, while the Moshinsky production with Colin Davis and Jon Vickers is rightly famous, and mercifully preserved on DVD. Best of all was the Tim Albery production at ENO with Philip Langridge astonishing as Grimes (also still available on DVD).

The non-appearance of the recording of the Warner production is slightly odd. When it was filmed a date was announced for it to be streamed on the ROH website and on Youtube, but this was pulled before the transmission date, in part I think because of the imminent launch of the ROH streaming service. However, it still hasn't appeared on that service even though later operas from the same season, including Theodora and Samson et Dalila, are now available on the service. I do wonder if there was a problem with the recording which has delayed its appearance. I am still hopeful that it will be included on the streaming service soon, and that DVD and Blu-ray releases will follow.

[Nick Armstrong]

Though to keep the metaphors flowing, he's actually keeping the boat afloat. The guest reviewer is getting tangled in cross-currents rather perilously: her "Alan Okie" managed to conflate tenor "Alan Oke" with the baritone "Alan Opie".

The most memorable (irritating) feature of this BAL was the reviewer saying “Yeah, absolutely” repeatedly as AMcG answered his own ‘questions’ about the various versions - a pretty uninspiring and uninformative edition of the programme.

No argument with the result. (Philip Langridge sang the first notes I ever heard in an opera house - the Prologue to Turn of the Screw… what a musician!)

[Ein Heldenleben]

The most memorable (irritating) feature of this BAL was the reviewer saying “Yeah, absolutely” repeatedly as AMcG answered his own ‘questions’ about the various versions - a pretty uninspiring and uninformative edition of the programme.

No argument with the result. (Philip Langridge sang the first notes I ever heard in an opera house - the Prologue to Turn of the Screw… what a musician!)

The first notes I ever heard in the opera house were in a 1973 production of Tristan at the Royal Opera by whoever was the offstage voice singing Mein Irisch Kind etc..
I looked at the programme the other day and discovered that 50 years ago Thomas Allen sang Melot . Just wondering whether there are many singing careers that compare in terms of longevity (and quality) ?

[smittims]

'whoever was the offstage voice...'

John Dobson?

[Ein Heldenleben]

'whoever was the offstage voice...'

John Dobson?

Just looked it up - Derek Blackwell

The entire supporting cast were British Veasey , Bailey , Allen , Ward , Lanigan , Lloyd . Makes you think doesn’t it ?

[Master Jacques]

The first notes I ever heard in the opera house were in a 1973 production of Tristan at the Royal Opera by whoever was the offstage voice singing Mein Irisch Kind etc..
I looked at the programme the other day and discovered that 50 years ago Thomas Allen sang Melot . Just wondering whether there are many singing careers that compare in terms of longevity (and quality) ?

What a wonderful way to start your live operatic adventure! As for Allen, it has been an astonishingly long career: I think his house debut came two years earlier, in 1971, as Donald in Billy Budd (with Peter Glossop, Richard Lewis and Forbes Robinson in the main roles, and Mackerras conducting).

[Ein Heldenleben]

What a wonderful way to start your live operatic adventure! As for Allen, it has been an astonishingly long career: I think his house debut came two years earlier, in 1971, as Donald in Billy Budd (with Peter Glossop, Richard Lewis and Forbes Robinson in the main roles, and Mackerras conducting).

It made such an impact I went back 3 days later. To be honest it was the music rather than the singing . The supporting cast were fine but the T and I less so. Had to wait for Linda Esther Gray and Alberto Remedios to hear it done properly.
Let’s hear it for British singers folks who (back on thread ) have made Grimes their own . ( with the exception of Vickers and Heppner)

[Eine Alpensinfonie]

I looked at the programme the other day and discovered that 50 years ago Thomas Allen sang Melot . Just wondering whether there are many singing careers that compare in terms of longevity (and quality) ?

George Baker, Christa Ludwig, Peter Dawson, Peter Pears and Placido Domingo spring to mind.

[Maclintick]

I looked at the programme the other day and discovered that 50 years ago Thomas Allen sang Melot . Just wondering whether there are many singing careers that compare in terms of longevity (and quality) ?

What a career ! I first heard Tom Allen as Papageno at WNO in New Theatre days circa 1970, just after he'd left the Glyndebourne Chorus, and recently almost bumped his elbow leaving the latest revival of Mayerling at the ROH. Sometimes, in similar circumstances, I've summoned up the courage to indulge in a moment of super-fandom, but hesitated on this occasion. Operatic baritones, denied the wow-factor accorded to star tenors, are fortunate in respect of mature rôles which offer longevity as recompense.

[Master Jacques]

George Baker, Christa Ludwig, Peter Dawson, Peter Pears and Placido Domingo spring to mind.

What an amazing bunch! Magda Olivero didn't quite make 50 years as a prima donna (1932-1981), but her final stage role, at age 71, was La voix humaine of all things; and she kept singing and recording until she was 86.

[smittims]

Hughes Cuenod, Pierre Bernac, Giovanni Martinelli, and Gottlob Frick all sang professionally well into old age, in each case I think by taking care of the voice by a careful choice of repertoire.

[LHC]

I saw Hans Hotter performing in Gurrelieder on his 80th birthday (although he was performing as the Speaker rather than singing).

Mark Reizen sang Prince Gremin in a performance of Eugen Onegin at the Bolshoi on his 90th birthday and still sounded in very fine voice (there is a recording available).

[smittims]

That must have been a treat for you, LHC. Hotter is the Speaker in Riccardo Chailly's 1985 recording of 'Gurrelieder', following Schoenberg's suggestion that the part suits an experienced singer who no longer sings. This was twelve years after his two Decca LPs 'The Art of Hans Hotter' , which were disparaged in the Gramophone , though I enjoyed them very much on their Eloquence CD reissue.

[mopsus]

Hans Hotter is Schigolch (admittedly a wheezy, asthmatic character, but quite a substantial role) on the EMI recording of Lulu conducted by Jeffrey Tate, made by my reckoning when he was 82.