Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

OPERA TODAY ARCHIVES »

Reviews

Benjamin Britten A Time There Was. . .
07 Jul 2009

Benjamin Britten: A Time There Was. . .

With its’ title taken from the composer’s Suite of English Folk Tunes, Op. 90, Tony Palmer’s film Benjamin Britten: A Time There Was… is a solid documentary assembled from interviews, rehearsal clips, photographs and other audio-visual materials to create a vivid portrait of the composer.

Benjamin Britten A Time There Was. . .
A film by Tony Palmer featuring extracts from: Peter Grimes; Billy Budd; A Midsummer Night's Dream; War Requiem; Curlew River; Death in Venice; Nocturne; Young Person's Guide to the Orchestra.

With: Benjamin Britten; Peter Pears; Leonard Bernstein; Sviatoslav Richter; Janet Baker; Julian Bream; Heather Harper; Imogen Holst; John Shirley-Quirk; Rudolf Bing; Henry Moore; English Chamber Orchestra, conducted by Steuart Bedford.

TPDVD125 [DVD]

$26.99  Click to buy

A Time There Was… is refreshingly straightforward, without artifice to alter the emphasis implicit in the documentation itself. The comments of family members are touchingly revealing. Some of the details are remarkably pithy about the environment in which Britten grew up, and Palmer is good not to editorialize. Details take shape within the context of the film. For example, Britten’s cousin Elsie’s comment about the composer’s prescience might sound out of place, but Palmer’s inclusion of it underscores some of Leonard Bernstein’s remarks about Britten’s music, and touches like these are entirely characteristic of the film.

Originally released in 1979, just three years after Britten’s death, this issue on DVD makes the film available to new audiences. (A comprehensive filmography is available at www.tonypalmer.org.) More than that, the release demonstrates the strength of Palmer’s film, which holds up well after three decades. While some of the footage in A Time There Was… has a grainy look, that quality contributes to the overall feel of Palmer’s film in bringing forward firsthand materials to document his subject. In terms of the concept and sense of the whole, A Time There Was… remains a fine, convincing portrait in film. Unlike some more recent film biographies, it lacks some of the aspects of the biopic by remaining close to the subject. The narrative is implicit in the images and pacing Palmer brings to the screen. The director is present in the presentations, not as a rear of a head asking questions in interviews or contributing a narrative to hold the images together. The images lead one to the other, and the narrative is found within the careful editing of the source material.

In addition the rehearsal clips give a sense of Britten working on his music in ways that others could not convey as effectively. In addition, the judicious selection of musical examples helps to anchor the film nicely in the sonic world Britten created. Not everyone would choose the same examples, but Palmer achieved a representative variety, which not only gives those unfamiliar with Britten’s music a useful introduction, but also serves to remind those who know the repertoire to return with renewed interest. For example, Britten’s contributions to film may not be the entire basis for his reputation, but the fact that he worked in this idiom is useful information. More than that, his efforts are not without interest, especially in the clip which Palmer used from the film The Way to the Sea.

At the same time, the treatment of the relationship between Britten and Peter Pears is sensitive and balanced. It is neither condescending nor apologetic, and that is as it should be. As appropriate as it now seems, such a balanced approach seems to be remarkable for its time, and the result stands well, decades after Palmer originally released the documentary.

While a fine body of primary and secondary materials exist in print to document Britten’s life and works, this documentary brings certain aspects of his career to life in ways that film does best. To Palmer’s credit, his films on Ralph Vaughan Williams, Malcolm Arnold, Igor Stravinsky, and others have earned his praise, and the release on DVD of the present documentary about Benjamin Britten stands well with the others. A solid film when it was first issue, this newly issued DVD continues to make available an important and engaging resource on Britten.

James L. Zychowicz

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):