Peter Grimes, So Good, You Want to Have a Drink

Nancy said, "you get to do the review."

So...here goes.

We watched the HD broadcast of Peter Grimes today at our local movie theater. As we had expected, turnout was low. Every broadcast we've been to up to this point has been completely jam packed. Britten just doesn't get folks excited. (I will rant some other time about the strange prejudices typical opera-goers show to their own chosen art...but not today...) We were excited, however. Nancy, the super Britten lover, would have gone if she were suffering from leprosy, to hell with the contagion. I was interested in the heavy/modern drama. (see previous posts about our week long lead up to the event).

A few things before I get into the actual work, because, if you were interested in reading a flat-out, reviewer's review, you could go to the New York Times, (and probably wish you had jammed a nail in your eye after being inundated by pretension and snootiness).

Dear Met people,
Natalie Dessay is probably a really neat person. And she certainly is famous. Renée Fleming has got to have one of the top ten beautiful voices of all time. And seems like a really genuine person. But they are Opera Singers. PLEASE, PLEASE, PLEASE, get an equally famous, opera-loving reporter to do your behind the scenes stuff. Five million of us shouldn't be subjected to the awkwardness of these folks trying to conduct interviews. I know, I know, "it's charming", you say. Nope...just uncomfortable. A really good on-camera reporter will also be charming, and not make us all run for the popcorn and the bathrooms to avoid watching these world class performers humiliate themselves. PLEASE!!
Kisses, Sid

To the review:
Peter Grimes was pretty freakin awesome. However, it was not for the opera-noob. Also, inappropriate for anyone who'd had a bad week or struggles with any mental/emotional issues.

The production/direction/design by John Doyle was stark, dirty, dark and absolutely perfect. You have to understand me. This may be the only time you will see me write those words. I'm usually apoplectic about the staging, direction, lighting, sets, etc. This time, though, it couldn't have been more perfect. A particular kudos has to go to the set designer, Scott Pask. The huge set piece with doors that opened chunkily, and weren't quite evenly set with each other, matched the strangeness of story perfectly.

The chorus was astonishing! I don't know what the chorus master has done to these people, but they are a machine. Under the masterful direction of conductor, Donald Runnicles, they blew us out of our seats. Thank you, chorus. You made the show.

Anthony Dean Griffey (an Eastman alum!) put on a clinic in operatic descent into madness in the title role. His performance should be burned onto DVD and sent to every other opera singer in the world. He didn't fall into the usual operatic trap of hysteria. He just went nuts. You really believed that he was hearing voices. When he walks off to sink himself and his ship, you truly felt like it was the best choice. You could bury an opera house in manuscripts/scores of operas that end with a character going insane. So, all other opera singers are on notice. Do it like Anthony Dean Griffey. You aren't as good as he is, so copy him.

He sang well, too.

Patricia Racette had a strange role, in a strange opera. She has to be sympathetic, and a little suspicious, too. She was mostly both. It may just be the libretto, but I thought her character got off a little easy. I don't want to lay it at her feet. She did choose to play the part pretty prettily, though. (Please forgive the alliteration. Ouch, Sid.).

However, her singing was tremendous. Powerful, sublime, clear. She showed it all. I'm not super high on heavy-voiced sopranos, usually. In my opinion, most of them should read the paragraph on Anthony Dean Griffey's acting. She, however, sang perfectly.

I'm not going to go through all of the other cast members. Other than the screamy preacher-dude, they were right on. The old lady with the laudanum habit was perfect. As were the two baritones. I don't remember their names...let's call them, Dirty and Top-Hat. Top-Hat could knock over walls with his sound (in a good way). Dirty is the character who suggests that Peter go sink himself and his boat. He was so convincing, that I started heading to the marina.

This show is a dead-duck without a good ensemble cast. It had one. It was tremendous.

The orchestra and Donald Runnicles played the @#!! out of the score. It was mind-blowing. BUT...Britten's music is a hard listen. You find yourself scrambling for someplace to settle. And that place never arrives. It is a giant, sprawling, post-romantic, through-composed beast. Do not approach a performance of Peter Grimes, if you have no experience with opera. I don't see you coming out a long-term opera lover if you do.

If you're prepared, however, for the gritty realism of both the story and the music, and need a show that will harrow your soul, then Met's Peter Grimes is a must-see. Just have a bottle of hard liquor ready at home for the post-show trauma. It's intense