Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

Jacques Imbrailo as Billy Budd [Photo by Alastair Muir]
22 May 2010

Imbrailo stars as Billy Budd in Glyndebourne

Star born through stutter? It’s immediately obvious that Jacques Imbrailo’s Billy Budd at Glyndebourne is an extraordinary portrayal. His stammer is more expressive than speech.

Benjamin Britten: Billy Budd

Vere: John Mark Ainsley; Budd: Jacques Imbrailo; Dansker: Jeremy White; Claggart: Phillip Ens; 1st Mate: Michael Wallace; 2nd Mate: John-Own Miley-Read; Mr. Flint: Matthew Rose; Bosun: Richard Mosly-Evans; Donald: John Moore; Maintop: Peter Gijbertsen; Novice: Ben Johnson; Squeak: Colin Judson; Mr. Redburn: Iain Paterson; Lieutenant Ratcliffe: Darren Jeffery; Red Whiskers: Alasdair Elliott; Arthur Jones: Toby Girling; Novice’s Friend: Duncan Rock; Cabin Boy: Sam Honeywood; Midshipmen: Freddie Benedict, Alastair Dixon, Adam Lord, Oascal Tohouri, Joseph Wakeling. London Philharmonic Orchestra. Conductor: Mark Elder. Director: Michael Grandage. Designer: Christopher Oram. Lighting Designer: Paule Constable. Movement Director: Tom Roden. Glyndebourne Festival, Sussex. 20 May 2010.

Above: Jacques Imbrailo as Billy Budd

All photos by Alastair Muir courtesy of Glyndebourne Festival

 

The cannons don’t get to shoot the Frenchies, Vere cannot resolve his conflicts, but inarticulate Billy overcomes huge obstacles and gets things done. He pays the price for inadvertently killing Claggart, but no-one intervenes. Captain Vere’s paralyzed by conscience, trapped in the fogs of scruple. Billy, though, is instinctive, physical, direct. Imbrailo lives the part in his body. No makeup can turn his face red so quickly, no costume can create the tense, twisted coil of his frame.

Imbrailo’s Billy is musically astute, as stammer is integral to Britten’s music. The mutiny, in Billy Budd, is in the music. So echoes of Billy’s stammer burst out in recurrent staccato in the orchestra, disruptive protests against the rigidity of naval life. The sailors don’t mutiny, but Billy’s stammer comes to affect the rhythms in other voices, even Claggart’s. Like Billy, Britten expresses himself in abstract sound, rather than relying on words alone. Orchestration as protagonist. In Billy Budd, Britten shows why he didn’t need to write symphonies.

Billy_Budd230.pngPhillip Ens as Claggart

Significantly, in this new production directed by Michael Grandage, what stands out most in Billy’s star aria, “Through the port comes moonshine astray” isn’t the usual lyrical magic but the phrase “I’m strong, and I know it, and I’ll stay strong!” Imbrailo’s “Beauty” isn’t a passive “Baby” but an assertive force of life.

Yet central to the whole opera is Captain Vere’s dilemma. He’s spent a lifetime trying to understand what Billy meant. What is “the love that passes understanding”? In this production, Vere recedes almost into the background. No “Starry Vere” here, fixed on a more rarefied intellectual plane, thinking of Scylla and Charybdis.Vere is tormented because he is a man who thinks.

Instead, this Vere is one of the boys. He doesn’t even wear a hat when he’s with the other officers. In the scene where Billy is hanged, he’s seen as an old man in a dressing gown, as still as a statue among the teeming crowd of sailors. Grandage is making a valid point, but this neuters Vere’s position. In this scene, Vere is still Captain, still capable of action, hamstrung as he is by his quandary. John Mark Ainsley sings beautifully, as he always does, but this production doesn’t make full use of his potential.

If Vere’s pivotal role is underplayed, Claggart, in this production, is developed unusually well. Philip Ens makes Claggart twitch with sexual tension. Like the mists that trap the ship, and the haze that shrouds the stage, this Claggart oozes poison so pervasive that just hearing Ens makes one feel unclean — he’s a great actor, and his voice twists and elides in a sinister way. How did this Claggart come to be who he is? This portrait of warped sexuality is almost too awful to contemplate.

This is an extremely dark production, in all ways. Definitely not a cheery sailor story! Christopher Oram’s set is claustrophobic. We’re inside the bowels of the ship, not on deck, and certainly not in the foretop, where Billy feels free. You can almost smell the fetid air, and feel the cramped, damp chaos. Psychologically, this is astute, but becomes oppressive in itself.

Billy_Budd090.pngJacques Imbrailo as Billy Budd (foreground centre).

The transfer scene, where Billy sings “Farewell to the Rights of Man” might have sounded more poignant if we’d “seen” the bright hope of the other ship in some way. Later, soldiers in brilliant red and white uniforms appear. They’re a delight to the eyes, but distract from the grimness of what’s happening. The real brightness in this opera is Billy, and his transfiguration. The set is also not flexible, despite intelligent use of lighting (Paule Constable), and works less well after the First Act. Also, the protracted tying of the noose within sight of the condemned man seemed excessive. The music at this point is so amazing, that we should be listening, not watching.

This was Mark Elder’s first Billy Budd. He conducted the London Philharmonic Orchestra so the strong undercurrents of Britten’s music flowed well. In a production as dark as this, though, more sharpness of attack would have captured the edginess in the music, but Elder understood the recurrent “stammers” well. Dulled, pounding thrusts, as instinctive and direct as Billy’s stutter.

Billy_Budd433.pngJohn Mark Ainsley as Captain Vere, Jacques Imbrailo as Billy Budd and Phillip Ens as Claggart

“Rum, sodomy and the lash” don’t really fit in with Glyndebourne’s elegant, summertime ambiance, so it is no surprise that it’s taken 60 years to become part of the Festival. But it’s a measure of Glyndebourne’s artistic integrity that this particularly brutal production is done at all. This Billy Budd will be revived many times. The theatre at Glyndebourne is small, but the Festival reaches out all over the world, to a much bigger audience through broadcasts and DVD releases. Relatively few may attend in person, but the potential is huge, for Glyndebourne’s artistic standards are extremely high.

Hopefully, if they film this Billy Budd, they’ll do it with Jacques Imbrailo, who is so good that his star is very definitely in the ascendant.

Anne Ozorio

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):