Dame Ethel Smyth: The Boatswain’s Mate: A Comedy in One Act and Two Parts (1916)

I omitted to post this review on my 'blog' in 2016: so here it is now...

There is a rule of thumb that states British opera did not truly exist until the premiere of Benjamin Britten’s Peter Grimes in the days following VE Day. Palpably this is not true, but it is believed by many opera enthusiasts. There are the Savoy Operas, but these are usually regarded as being as less than ‘serious’.  In fact, even the briefest glance at the listings of British opera (operetta) over the years prior to Grimes, reveals a large number of works. Well known examples include RVWs Hugh the Drover, Delius’ A Village Romeo and Juliet and Edward German’s Merrie England. There are plenty of others. Two major genres are represented here: grand opera and light opera or operetta.

The Boatswain’s Mate falls into the category of ‘short opera’. And therein lies one of its problems. It needs a programme partner. Few opera goers would be prepared to spend a considerable sum on a performance lasting a mere one and half hours. It needs its Cox and Box. 

A few notes on the composer may be of interest to listeners. Ethel Smyth was born on 23 April 1858 in Sidcup, Kent. She was the daughter of a Major General in the Royal Artillery. Smyth studied abroad under the German musician Heinrich von Herzogenberg, and at the Leipzig Conservatory. Early successes included the symphonic Serenade in D major for orchestra and the Overture: Anthony and Cleopatra which were first heard at the Crystal Palace. In 1893 she presented her Mass in D at the Royal Albert Hall.  She was a prolific composer of operas with her most famous being The Wreckers, inspired by the seas and history of Cornwall. It was preceded by the comic opera Fantasio and Der Wald.  Other stage works were to follow The Boatswain’s Mate, including Fête Galante, Entente Cordiale. During a two-month term of imprisonment in Holloway she wrote an oratorio, The Prison. There were also a number of skilful chamber works.

Her political activities often overshadowed her music. She was active in the Suffragette movement and the Woman’s Social and Political Union. Her volumes of autobiography including Impressions that Remain, Streaks of Life and A Final Burning of Boats make entertaining and informative reading.

Smyth’s music is of great quality: it is characterised by powerful melodies and competent scoring. One feels that is she had been male, her star would have risen as high as Elgar, Parry and Stanford. In 1922 she was made a Dame of the British Empire. Ethel Smyth died in Woking on 8 May 1944.

The Boatswain’s Mate was written during 1913/14 whilst Smyth had taken a step back from the militant politics of the Women’s Social and Political Union. Apparently, she toyed with the idea of setting J.M. Synge’s Riders to the Sea. She put this to one side and chose to devise a libretto from the short story The Boatswain’s Mate by W.W. Jacobs printed in the Strand Magazine (August 1905). The music was composed whilst she was on a ‘vacation’ for six months in a Hotel in Helouan, Egypt.  The political struggle was not totally forgotten: her The March of the Women and the song ‘1910’ from Songs of Sunrise for unaccompanied choir, commemorating the violence of ‘Black Friday’ (18 November 1910) are woven into the overture.

The Boatswain’s Mate was premiered at the Shaftsbury Theatre on January 28 1916 and was performed by the Beecham Opera Company. It was conducted by the Smyth herself.

I do not intend to plot spoil. One or two brief pointers will be of significance. The first thing to surprise the listener is that the action is set in a pub. I guess before I read anything about this opera I imagined that it would reflect the high seas, or at least some seaport such as Plymouth or Portsmouth. I felt that it would follow in the wake, as it were, of The Wreckers. However, all the action is set in The Beehive, a remote country inn.

Secondly, there has been much argument as to whether this is a ‘feminist’ opera of not. It is possible to analyse it as such, but equally imaginable to consider its heroine as a ‘feisty’ woman, who manages to outwit a calculating suitor and (possibly) falls for his competitor in her affections. In other words, a straightforward battle of the sexes, where the woman wins.

Musically the work is written in two diverse parts, although ostensibly in one act. The first part has a selection of arias and interludes sung by the soloists. This is interspersed with spoken dialogue, in the same manner as Gilbert and Sullivan in their Savoy Operas. The style could also be defined as ballad-opera. The second ‘part’ is musical throughout, with all ‘dialogue’ sung in the manner of a music drama. I am not sure why she created this obvious disparity: I am not completely convinced that it adds to the end result. The music is always enjoyable and never ceases to hold the listener’s attention.

And finally, Ethel Smyth not only uses her famous march: she also weaves a number of folk tunes into the proceedings. This includes ‘Bushes and Briars’, ‘Lord Randall’ and ‘O Dear what can the matter be?’

The recording quality of the of the music is ideal. The clarity of the singing is never in doubt. It would be disingenuous to pick out any individual soloist. All of them give a sympathetic and convincing performance. The Lontano Ensemble provide an intimate, chamber quality to the proceedings.

The liner notes are comprehensive. The first section presents an essay by Christopher Wiley on ‘The Boatswain’s Mate in the context of Smyth’ life and works.’  Another major essay by the present conductor Odaline de la Martinez, examines ‘The Music of The Boatswain’s Mate.’  Finally, David Chandler considers the operetta’s ‘Source, Adaptation and Emphasis.’ The usual biographies of the cast and performers are given. Most important of all, the libretto is printed in full (including sung numbers and dialogue).  As a package this is exceptional. It is exactly how ‘revived’ operas should be presented.

Included in this 2 CD set are two historical treats. Firstly, there are ‘significant’ extracts of The Boatswain’s Mate recorded (unbelievably) on 2 October 1916. This century-old recording is surprisingly good. But then it should be. It was made by The Symphony Orchestra conducted by the composer. I am not too sure what the recording history of this work is, but reading the liner notes it would appear that a number of records were issued featuring the Overture followed by eight songs/arias/interludes from the operetta.

The final indulgence is the overture from Ethel Smyth’s other opera The Wreckers. This was recorded in 1930 with the composer again conducting The Symphony Orchestra. It has been released on Symposium 1202 in 2000. However, it is valuable to have it here as a pendant to the present opera. One cannot help noticing just how far recording technology progressed in the post First World War years. As a matter of interest, another version of this overture was recorded by Sir Alexander Gibson in 1968, along with works by German, Harty and MacCunn. (HMV ASD 2400)

This the first recording from Retrospect Opera. This is a registered charity whose mission is to record selected British operas of the 18^th, 19^th and 20^th centuries. They combine expertise in performing, editing of music and scholarly research.  The aim is to allow listeners to hear and understand the ‘wealth of British operatic heritage.’ All the profits made from this CD release will be ploughed back into further projects. Retrospect Opera has an excellent website. Other operas being produced will include Edward Loder’s Raymond and Agnes and Solomon and Burnard’s Pickwick. I understand that plans are being made for a recording of Smyth’s Fête Galante.

The Boatswain’s Mate is an ideal candidate for concert performances. No complicated sets, scenery or props are needed. The cast is limited to about eight principals and only a chamber ensemble is required.

Let us hope that two things result from this outstanding new release from Retrospect Opera. Firstly, a wider appreciation of Dame Ethel Smyth’s music, with increased performances of the present opera and possibly the other five. And secondly, a greater demand for listeners and singers to explore the proud heritage of Victorian, Edwardian and Georgian (V) operas that have for so long lain under the cloud of negative comparison with Peter Grimes.

Track Listings:

Dame Ethel SMYTH (1858-1944)

The Boatswain’s Mate: A Comedy in One Act and Two Parts (1916) Complete Opera (Edition prepared by Dr Valerie Langfield

The Boatswain’s Mate (extracts from the 1916 recording) The Symphony Orchestra/Ethel Smyth

The Wreckers: Overture The Symphony Orchestra/Ethel Smyth (rec.1930)

Lontano Ensemble/Odaline de la Martinez.

Nadine Benjamin (Mrs Waters), Edward Lee (Harry Benn), Jeremy Huw Williams (Ned Travers), Simon Wilding (Policeman) Ted Schmitz (The Man) Rebecca Louise Dale (Mary Ann) and Chorus.

Rec. September 2015 and April 2016 St Mary's Church, Walthamstow, London, UK.

RETROSPECT OPERA RO001

With thanks to MusicWeb International where this review was first published. 

Dame Ethel Smyth: ‘Woman’s Music Scorned’

On January 10 1922 Dame Ethel Smyth (1858-1944) wrote a letter-article for the Daily Mail. She had recently been created a Dame Commander of the Order of the British Empire (DBE) in recognition of her work as a composer, a suffragette and writer.  The content needs no gloss, save to say that Smyth’s music has not yet been recognised to any great degree. However, there are a number (19) of CDs currently featuring a good cross section of her work.  [JF]

The Daily Mail editor provide the following brief introduction:

The foremost woman composer of our own or any other age, Dr. Ethel Smyth, who contributes the following article is a daughter of the late General J.H. Smyth. She has written two symphonies, an opera, The Wreckers, a comic opera The Boatswain’s Mate and a Mass in addition to many shorter works.

By Dame Ethel Smyth, Mus.Doc

In at least half of many kindly Press notices concerning an honour recently bestowed on me comments in this style are to be found: ‘Her music is less well known than it deserves.’ ‘Recognition has come late in the day.’ ‘She is better known abroad than in her own country.’ It is a case of ‘now or never’ if I draw attention as I have often been tempted to do, to the following facts, which I think many people will be surprised to learn:-

For 30 years I have vainly hoped that some work of mine might be accepted for performance at one of the great provincial musical festivals. It has not happened yet.

On no important and representative occasion whether in London or abroad, has a work of mine figured among the works of British composers.

Except Sir Henry Wood and Mr. Dan Godfrey, not a single orchestral conductor now operative touches my work.

The curious part of it is that I cannot complain of the Press. From the very first their recognition has on the whole been generous. And when my work is played, no one would deny that the public likes it. So do orchestras. But the trouble is it is hardly ever played!

Here are two recent incidents, typical of what has gone on all my life:

Last September a friend connected with Hereford pressed my claim for belated inclusion in a festival programme on Dr. Brewer, the conductor of the coming Gloucester [Three Choirs] Festival. He reported that the idea was favourably entertained and advised me to write at once. I did so; sent testimonials as if I were an unknown chauffeur looking for a place, and pleaded, if better could not be had, for eleven minutes in a four-days scheme.  No reply.

I wrote again; still no reply. I suppose the authorities knew that in due season I should learn from the newspapers (as I have) that my request has once more been turned down.

Last summer I suggested to a friend that the London Symphony Orchestra might perform me occasionally (an excellent habit of theirs in the days of Nikisch and Sir Thomas Beecham). Later I was not surprised to learn from a member of the committee that the thing was practically settled, date, work and all, and was merely awaiting the assent of Mr. Albert Coates, who was daily expected home from abroad. Shortly afterwards, the London Symphony Orchestra scheme for this season came out, and my work was not included.

In conclusion, I will mention one more pregnant fact. The only conductors who have given a hearing to Dorothy Howell [1898-1992] and other gifted women of the rising generation are Henry Wood and Dan Godfrey.

The Daily Mail 20 January 1922

Sir Henry Wood: Dame Ethel Smyth on the Conductor’s Rostrum

Sir Henry Wood has given these two splendid unattributed anecdotes about the quixotic composer Dame Ethel Smyth. It needs no commentary to understand the humour of the situation; however I have given a couple of footnotes to explain the details.

‘I think I must have played practically everything Dame Ethel Smyth has written-certainly everything that can be performed in a concert-hall. I remember her conducting one of her own works at Queen's Hall one night at a Promenade concert. She went up to my rostrum, took up my baton and surveyed its length critically. Deciding that it was more than she could manage, she calmly snapped it in two, threw away one half and conducted with the other.

Dame Ethel is law unto herself and given, like many composers, to making last-minute suggestions. Sometimes Dame Ethel goes further than last-minute suggestions: she makes last-minute alterations. I remember going with Lady Speyer and Lady Maud Warrender [1] to hear The Wreckers [2] at Her Majesty's. We arrived at 2.15 for the 2.30 matinee. I said: "Where's Ethel Smyth? I don't see her anywhere. It's a wonder she hasn't been down into the orchestral pit by now to make a few alterations in the band pacts."

"She would never do that as late as this", said Lady Speyer. "It is nearly twenty-past two."

"I don't care", I said. "She will be there with her little slips to pin on."

"I don't believe it."

“All right. I'll bet you a pound she does."

"Done!”

We waited.

Sure enough, at 2.25 the composer appeared, stealing in through the iron door, and proceeded to affix alterations over certain brass parts. I was jubilant.

"I don't suppose she has told the conductor, either", I said. "He will wonder what on earth is happening when he comes to the passage. Now what about that pound you owe me?”

Lady Speyer paid up.’

[1] Lady Speyer, Leonora Speyer (née von Stosch) (1872-1976) was an American poet and violinist. Lady Maud Warrender (1870-1945) daughter of the Eight Earl of Shaftsbury was born Ethel Maud Ashley-Cooper. She was married to naval officer Sir George John Scott Warrender. After his death in 1917, she took singing lessons and became a celebrated amateur contralto. She was intimate with the composers Rebecca Clarke, Ethel Smyth and Maude Valérie-White. (Elgar & His World, ed. Byron Adams)

[2] The Wreckers is a three act opera composed by Dame Ethel Smyth to a libretto by Henry Brewster. The first sketches for this opera were made in 1886, however the British premiere was not until June 23 1909 at Her Majesty’s Theatre in London with Sir Thomas Beecham conducting.

Dame Ethel Smyth: V for Victory

Harold Rutland wrote the the following anecdote for the Radio Times (1947):-

‘I well remember the first performance of Dame Ethel Smyth’s Concerto for Violin & Horn and orchestra [1] in 1929 [2] which the composer directed herself. Addressing the audience from the rostrum, Dame Ethel informed us that in the course of the work the horn soloist, Aubrey Brain [3], would perform the incredible feat of playing two notes at once. The concerto then went merrily along, but just before Aubrey Brain’s great moment, Dame Ethel turned again to face us, and giving a sign that Winton Churchill has since made world-famous indicated to the delighted audience that the miracle was about to happen.'

Notes

[1] Dame Ethel Smyth (1858-1944) The Concerto for violin, horn and orchestra was composed in 1927, near the end of Smyth’s composing career.

The Concerto was performed at the Queen’s Hall, London on Saturday 5 March 1927.  Other works included Richard Wagner’s Prelude, Lohengrin, Mozart’s Violin Concerto No. 3 in G and Miaskowsky’s Symphony No. 6, Op. 23.  Henry Wood was the conductor of all works other than Smyth’s Concerto.  The violinist that afternoon was Jelly D’Aranyi. 
[2] Harold Rutland would appear to have mis-remembered the date. Or was he recalling another performance.
[3] Aubrey Brain (1893-1955) was a well-respected horn player who worked with the New Symphony Orchestra, at Covent Garden and as principal of the BBC Symphony Orchestra, He remained there until retiring with ill-health in 1945. He taught horn at the Royal Academy of Music from 1923 until his death in 1955.  Ethel Smyth wrote her concerto specifically for Brain. Aubrey Brain was the father of Dennis Brain, the horn player who was tragically killed in a car accident in 1957.