SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD INTERNATIONAL OPERA  REVIEW
 

Britten, The Turn of the Screw: Soloists, Orquesta Sinfónica de Madrid. Conductor: Josep Pons. Teatro Real de Madrid 2.11.2010 (JMI)

 

New Production for the Teatro Real from St. Petersburg’s Mariinsky Theatre

Direction: David McVicar (Original) Elaine Tyler-Hall (Revival)

Sets & Costumes: Tanya McCallin

Lighting: Adam Silverman

Cast:

 The Governess: Emma Bell

Prologue/Peter Quint: John Mark Ainsley

Mrs. Grose: Marie McLaughlin

Miss Jessel: Daniela Sindram

Flora: Nazan Fikret

Miles: Peter Shafran

Production Picture © Javier del Real

It’s one of the big changes of the last 20 years for the opera scene in Spain to include titles from the 20th century, including some from the second half of this century. In this short space of time two composers—not coincidently two of the absolute greats—have become the object of some special attention: Leos Janáček and Benjamin Britten, whose works have been successfully performed at the top Spanish opera houses. Britten's “The Turn of the Screw” is of particular importance in this respect, both for his original approach to its subject and for the fact that it’s the first chamber opera written by the British composer. Each time I have had the opportunity to attend a performance of this opera it has been always a big success. Nothing, therefore, was more natural than going to Madrid Teatro Real with very high expectations, truly convinced that we would enjoy the piece as much as on past occasions - perhaps even anticipating that this was going to be the highlight of the opera season. To my disappointment, that did not happen.

It was not a failure—far from it. But it came in significantly below  what could have been expected. It has possibly been the sole performance of an opera by Britten I’ve witnessed where the audience has responded with so coolly which, for this opera particularly, is amazing. Something, obviously, failed. Some friends commented to me that this theatre is too large for this work. Perhaps they are right, but I do not think that was the problem. We have seen other Britten chamber operas in this house and the result has been terrific. In my opinion blame belongs on the stage and vocal aspects, with the musical side having worked well enough without being so exceptional as to salvage other shortcomings.

Scottish stage director David McVicar is for me one of the most interesting in his field and so far he never disappointed me in any of his works. McVicar’s production here, too, seems job well done, but it is not the exceptional work you can expect from him. As usual, he has sets and costumes designed by Tanya McCallin, who offers an empty stage, with movements of panels and stage props to facilitate the change of the different scenes. The ambience is Victorian. In the dark atmosphere, a natural fit for this opera, Adam Silverman’s lighting is one of the better aspects of this production. Where my disappointment came in was in the actual stage direction, ‘enhanced’, if you will, by a weak cast of actors. In Madrid the production was directed by McVivar’s assistant, Elaine Tyler-Hall. I find it hard to believe that the absence of Mr. McVicar has been the cause of the weakness of the Personenregie, but then I also find it difficult to identify this direction with him. Of the characters on stage, only Quint was sufficiently elusive, disturbing and threatening, and to a certain extent also Miss Jessel. However, both the Governess and Mrs. Grose failed to convince and move the audience. Most notably that truly remarkable scene of the death of Miles, where the Governess should move the audience to the core, fell flat. Particularly disappointing was the performance of the children. The Miles here wasn’t of anything like the quality we have seen in other productions, and Flora was downright in-credible. Suffice it to say that the program states the singer, Nazzan Fikret, is 23 years old, which doesn’t strike me as an appropriate age to play this character. Eventually I focused on the extras and stage hands, who did excellent work changing the scenes.

The musical direction was in the hands of Catalan Josep Pons, recently appointed music director of Barcelona’s Liceu as of the 2012-2013 season. I found his conducting truly remarkable, very much in control of the small orchestra and with a deep knowledge of the score. Except for the shortage of mystery and—admittedly essentials—this was very good, as was the result he got from his orchestra.

Emma Bell was the Governess—a soprano who was a rising star just a few years back, but as of late things have not developed as might have been expected. Her voice has lost brightness in the middle and the top is constrained. Joan Rodgers and Mireille Delunsch—my last two Governesses—were better than her. Tenor John Mark Ainsley made for a convincing interpretation of Peter Quint, including the Prologue. It is a pure matter of taste whether one prefers a heavier tenor for this part or not; I found his performance was convincing.

Mezzo soprano Daniela Sindram was Miss Jessel and she displayed the best vocal quality in the cast, with a dark and attractive timbre, well suited for the character of the previous governess. The only thing she lacks to be perfectly convincing is more stage projection. Marie McLaughlin was an acceptable Mrs. Grose albeit with all-too little vocal contrast to Emma Bell.

Flora and Miles are the real protagonists of this opera and they have to be very carefully chosen. Peter Shafran (Miles) has a very small voice and he isn’t nearly as good an actor as some other colleagues in this role. Nazan Fikret.... well, see above. It was the first performance of the run and Teatro Real was almost sold out, which is not going to be the case in the following performances of this title. The artists were received without particular enthusiasm.

 

José M Irurzun