First things first. This is a
stunning and totally impressive recording – in fact it is probably the best
version of Billy Budd that I have
heard, or seen– including the ‘original’ Pears/ Britten edition that has
recently been re-released on DVD.
I guess that when I first heard
that there was an opera called Billy Budd,
which had its libretto based on Herman Melville’s book, I though that it was
going to be a sort of cross between H.M.S.
Pinafore and Gregory Peck in Moby
Dick. I did not realise that this opera is not precisely a ‘Boys Own’
adventure story but is actually a profound mediation on war, duty and
homosexuality. Of course a lot has been written about the typology and allegory
of this opera. Much has been made of possible social comment inherent in the
text of Billy Budd. But the bottom line is that this is a great story, full of
fine characterisation and having much action. Over and above this, there is
much reflection, a balance of good and evil and even love. It is a tragedy only
in the sense that Budd is executed. Love and goodness are seen in many parts of
this opera and of course finally triumphs in the final scene.
I came to Billy Budd remarkably early in my musical career. In fact it was
about the third ‘grand opera’ that I had heard. The first two were Ralph
Vaughan Williams’s Hugh the Drover
and The Poisoned Kiss. These were
part of the 1972 centenary celebrations. A few months later I heard a Radio 3
broadcast of Welsh Opera’s Billy Budd. Of course I was confused by it. After
all I was only eighteen! What, with no obvious arias, no diva giving it all she
had and an all male cast. It seemed a bit strange. But even then, aged 18, there was something
indefinable that appealed to me: something about the music that has stayed in
my memory for many years. In spite of the fact that Errol Flynn was million
miles away, I have come to regard this as one of my favourites operas. Full
stop.
The present recording is the edited
version of 1960: originally it was written in four acts. The opera was revised
by the composer for a BBC broadcast, the key change being a reduction to two
acts, and perhaps, more critically the appearance of Captain Vere is cut at the
end of Act 1. I have two minds about this ‘trimming’ –it seems a pity to miss some
‘Vere’ material, but the consensus of public opinion would appear to be that
that the revision is more effective, dramatically.
Ian Bostridge gives a magisterial
performance of the confused, but inherently decent Captain ‘Starry’ Vere. Surely
if ever a man was the victim of circumstances, it is he. Of course, the final
epilogue of Act 2 is perhaps the finest part of the opera. Certainly it is the
most significant – the Captain now an elderly man, reflects on the fact that ‘I
could have saved him.’ But did not. Of course he concludes that Billy Budd has
actually ‘saved me and blessed me.’
Naturally, Nathan Gunn as Billy
Budd is a critical part of this opera, yet I have always felt that the action
revolves round him and that perhaps he is not as significant a role as would be
imagined. Probably sacrilegious to say this! However, I felt that I enjoyed
Gunn’s performance least of all in this recording.
Gidin Saks for me steals the
show. He gives a strong and deliberately aggressive performance of the
Master-at Arms. Yet just occasionally there is almost a questioning, reflective
nature to his singing that belies the fact that he is a bully. Without being a
bleeding-heart liberal, which I am not- it is possible to feel that even he has reasons for his bad attitudes and
desire to ‘do for’ Billy.
There are many other great
moments in this opera – for example the Novice who has been flogged in Act 1
played by Andrew Kennedy and Andrew Tortise as Squeak. Of course the male
chorus from the London Symphony Chorus lend their nautical charms to this recording
– both in the raucous moments and in their more reflective ones.
There are too many highlights of
this recording to point out individual triumphs – but for my money the scene in
the Captain’s Cabin, when Vere quote classical literature and the aftermath of
the flogging are superb. They are truly beautiful and quite simply moving.
I conclude with three
observations. Firstly, I am normally a great believer in a strict hierarchy of
operatic appreciation. Top of the list, is a live performance. Then, a DVD or
televised performance and lastly an audio recording. Yet I am prepared to
ignore my ‘invariable’ rule for this present CD. It is so well conceived and performed
that with a minimum of imagination it is possible to mentally create the entire
operatic scene. I listened to this recording twice – one in my front room and
the other on the train. I was quite definitely aboard the ‘HMS Indomitable’ on
my travels rather than one of Mr Branson’s Pendolino trains. The sheer
brilliance of the performance by the cast and the London Symphony Orchestra and
their conductor Daniel Harding is enough to make this an essential recording.
Secondly each hearing of this
great work is a minor revelation. The relationship of thematic interrelationships
that may be clearly apparent to the scholar with the full score, slowly begin
to reveal themselves to lesser mortals. Additionally the orchestration on this
recording is transparent. There is a chamber music feel to much of this performance
that complements the intimacy of the singing. There is surely a danger that the
some of the intimate moments of this opera could be destroyed by an
unsympathetic and overbearing accompaniment.
Track Listing:
Benjamin BRITTEN (1913-1976)
Billy Budd (1951)
Ian Bostridge (tenor)-Captain Vere; Nathan Gunn (tenor)–Billy Budd; Gidon Saks (bass)–John Claggart; Neal Davies (bass)- Mr. Redburn; Jonathan Lemalu (bass)- Mr Flint, sailing master; Matthew Rose (baritone) - Mr Ratcliffe; Matthew Best (bass) – Dansker; Andrew Kennedy (tenor) – Novice; Gentlemen of the LSO Chorus
London Symphony Orchestra conducted by Daniel Harding
Billy Budd (1951)
Ian Bostridge (tenor)-Captain Vere; Nathan Gunn (tenor)–Billy Budd; Gidon Saks (bass)–John Claggart; Neal Davies (bass)- Mr. Redburn; Jonathan Lemalu (bass)- Mr Flint, sailing master; Matthew Rose (baritone) - Mr Ratcliffe; Matthew Best (bass) – Dansker; Andrew Kennedy (tenor) – Novice; Gentlemen of the LSO Chorus
London Symphony Orchestra conducted by Daniel Harding
Recorded at the Barbican, London, December 2007. DDD
VIRGIN CLASSICS 5 190392
VIRGIN CLASSICS 5 190392
No comments:
Post a Comment