ENO Billy Budd 10 December 2005
I was at this production on Saturday and thought it was a brilliant evening. I think that "Billy Budd" is Britten's operatic masterpiece and one of the greatest operas of the twentieth century.
The performance was dominated by a breath-taking performance by Simon Keenlyside in the title role. I must confess I had wondered if he could still carry the role in his mid-forties (I believe he is 46) but he triumphed. He still is in terrific shape and was not in the least embarrassed by spending half the evening with his shirt off. The physical energy and gymnastic ability of his performance was amazing yet he was also able to portray Billy's vulnerability. The scene before his execution was almost unbearably moving and sung with an intensity and beauty of tone. As he sang while doing his gymnastics, I was left wondering where on earth does he get his breath from? This was truly a great interpretation, difficult to imagine being bettered.
Also in super star territory was the Claggart of John Tomlinson. Almost unrecognisable without his beard and with white 'horror' makeup, he oozed evil and cruelty. His Act I encounters with Billy set the flesh creeping with his frustrated desire. The voice shows signs of wear and tear now but remains a mighty instrument.
Not quite in the same league was Timothy Robinson's Vere. Much of what he did was very good with some fine singing and (Deo Gratias) clear diction. But his acting was rather passive and he lacked the vocal weight for some of Vere's heavier moments, such as the outburst with Claggart in Act II.
The smaller parts were all very well taken with special mention for James Edwards as the novice (including some brilliant body make-up after the flogging) and a wonderful Dansker from Gwynne Howell.
Both chorus and orchestra were superb, as was Andrew Litton's conducting. On the evidence of this performance, it seems that ENO have made a bad mistake not signing him up as music director.
Neil Armfield's production was the only aspect of the performance about which I had any serious doubts. The scenery (Brian Thomson) is a large hydraulic lift and a number of stepped platforms that attach to it. There was nothing to suggest a sailing ship about it and having the chorus 'miming' pulling on ropes was really not acceptable. The scenery was kept in almost constant motion, even during some of the scenes. There were some misjudgments: Vere's cabin was set too high so it was difficult to see from the stalls what was actually going on. There were however some effective stage pictures and the anonymity of the set did allow the performers themselves to 'make' the drama.
All in all, this was a thrilling evening, with a performance of true greatness from Keenlyside.
The performance was dominated by a breath-taking performance by Simon Keenlyside in the title role. I must confess I had wondered if he could still carry the role in his mid-forties (I believe he is 46) but he triumphed. He still is in terrific shape and was not in the least embarrassed by spending half the evening with his shirt off. The physical energy and gymnastic ability of his performance was amazing yet he was also able to portray Billy's vulnerability. The scene before his execution was almost unbearably moving and sung with an intensity and beauty of tone. As he sang while doing his gymnastics, I was left wondering where on earth does he get his breath from? This was truly a great interpretation, difficult to imagine being bettered.
Also in super star territory was the Claggart of John Tomlinson. Almost unrecognisable without his beard and with white 'horror' makeup, he oozed evil and cruelty. His Act I encounters with Billy set the flesh creeping with his frustrated desire. The voice shows signs of wear and tear now but remains a mighty instrument.
Not quite in the same league was Timothy Robinson's Vere. Much of what he did was very good with some fine singing and (Deo Gratias) clear diction. But his acting was rather passive and he lacked the vocal weight for some of Vere's heavier moments, such as the outburst with Claggart in Act II.
The smaller parts were all very well taken with special mention for James Edwards as the novice (including some brilliant body make-up after the flogging) and a wonderful Dansker from Gwynne Howell.
Both chorus and orchestra were superb, as was Andrew Litton's conducting. On the evidence of this performance, it seems that ENO have made a bad mistake not signing him up as music director.
Neil Armfield's production was the only aspect of the performance about which I had any serious doubts. The scenery (Brian Thomson) is a large hydraulic lift and a number of stepped platforms that attach to it. There was nothing to suggest a sailing ship about it and having the chorus 'miming' pulling on ropes was really not acceptable. The scenery was kept in almost constant motion, even during some of the scenes. There were some misjudgments: Vere's cabin was set too high so it was difficult to see from the stalls what was actually going on. There were however some effective stage pictures and the anonymity of the set did allow the performers themselves to 'make' the drama.
All in all, this was a thrilling evening, with a performance of true greatness from Keenlyside.
posted by Alnwickian at 5:47 pm
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