The Minotaur

For those of us who believe opera to be the greatest of all art forms, the premiere of a full scale new work is an important and exciting event. Before going to see "The Minotaur" I knew little of Harrison Birtwistle's music and had seen none of his previous seven operas.

The libretto is by David Harsent, a regular collaborator of Birtwistle's, and follows closely the mythical story of the Minotaur, the half-man-half-bull trapped in the labyrinth. The libretto was skillfully constructed and well written, although the first half was a bit too long with rather too much hand-wringing from Ariadne and not just one but two horrific encounters between the Minotaur and the 'Innocents'. The second half flashed by.

The music at times was very violent but there were also moments of repose and lyricism. The dramatic music was enormously effective. The vocal lines were less jagged than I had expected and there some good themes: the saxophone associated with Ariadne being the most obvious. The best way I could describe the music is as 'aggravated Benjamin Britten'; indeed there was more than a whiff of "Peter Grimes" about the whole piece, complete with orchestral interludes.

The title role was created for John Tomlinson and he gave a superb performance. When in public, goaded and encouraged to cruelty by the masked chorus, the Minotaur can only roar, but when alone he articulates his frustrations and feelings. Every word and feeling in Tomlinson's performance was clear and it was both impressive and moving.

High vocal honours were taken also by Christine Rice as Ariadne, the longest part in the opera. John Reuter was fine as Theseus and there was a great double act from Andrew Watts and Philip Langridge as the Snake Priestess and her assistant. The Keres, who sweep onto stage to remove the hearts of the Minotaur's victims made a terrific Valkyrie-like effect vocally and dramatically. There was an outstanding performance from Amanda Echalaz as the chief Ker . Birtwistle had provided her with a bravura line, which she executed with considerable vocal fire power. This was her debut with the Royal opera and I hope to see and hear more of her.

There was excellent singing from the chorus and a spell-binding performance of this huge and complex score from the orchestra. Antonio Pappano demonstrated yet again what a brilliant and eclectic operatic conductor he is. How lucky we are to have him at Covent Garden.

The production by Stephen Langridge was straight forward and served the opera well.

A work that was certainly worthy of the full resources of the Royal Opera House and one that I am sure should be able to hold its place in the modern repertoire.