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Benjamin
BRITTEN (1913-1976) A Midsummer Night’s Dream Op. 64 – an opera
in three acts after William Shakespeare (1960) [144:36]
James
Bowman (counter-tenor) - Oberon; Lillian Watson (soprano)
- Tytania; Dexter Fletcher (spoken) - Puck;
John Graham Hall (tenor) - Lysander; Henry Herford (baritone)
- Demetrius
Della Jones (mezzo) – Hermia; Jill Gomez (soprano) - Helena;
Norman Bailey (bass) - Theseus; Penelope Walker (soprano)
- Hippolyta; Donald Maxwell (bass) - Bottom; Roger Bryson
(tenor) – Peter Quince; Adrian Thompson (tenor) - Francis
Flute; Robert Horn (tenor)- Snoat; Andrew Gallacher (tenor)
- Snug; Richard Suart (tenor) - Starveling; Simon Hart; Gregory
Pierre; Andrew Mead; Nicholas Watson – Fairies.
City of London Sinfonia/Richard Hickox
rec. November 1990, Studio 1, Abbey Road, London VIRGIN
CLASSICS 3818322 [77.14 + 77.12]
There
are those who consider that the original 1966 Britten-conducted
Decca recording of this opera remains unbeatable. I have
recently read a terrifically enthusiastic review by Chia
Han-Leon which takes about the ‘embodiment of intelligent
scoring’ and the genius of making Puck a spoken part and
of Alfred Deller’s supreme and unbeatable qualities. Yet
there are and must be other approaches and interpretations.
Back in 1990 this one hit the record shops. The recording
came out of a very successful run of performances by Opera
London that year. The booklet reproduces several attractive
colour photos of the production.
I
was returning to the music after an absence of over a decade
and I must admit to being disappointed. The opera, apparently
written quickly, seems to lack cohesion and substance. I
found that this recording was in many ways very close to
Britten’s early version, which I had got to know quite well
at one time, both in tempo and in atmosphere. But you will
want to know why the performance leaves me unsatisfied and
despite this whether this is the version for you.
First,
this box set offers no complete text. This is one of the
cut-backs seemingly necessitated by placing the double album
at medium price. Sadly not all of the singers have such good
diction so you will need to listen carefully. The excellent
booklet does however offer a very useful résumé of the scenes and I know some people prefer that approach. Turning
to individual singers, I must point the finger at James Bowman
as Oberon and Henry Herford at Demetrius. Bowman carries
all the authority of having worked with Britten and Pears
in the 1960s and 1970s. However by 1990 he had developed
a slightly hooty and at times, unfocused tone which can distort
the words.
Talking
of the text one should not underestimate the brilliant way
that Britten and Pears edited the play to make it suitable
for opera. Nevertheless Britten does engage in repeated lines
which in many other composers - including Gerald Finzi -
rarely do. Perhaps he felt that some padding out was necessary.
Michael Kennedy, in his ‘Master Musicians’ series book on
Britten (Dent, London 1981) comments “they have concentrated
the essentials of the action into a superb framework for
music”. Later Kennedy reminds us of what the text produced “Almost
of equal importance with the thematic material” generated
for each character “are the different instrumental groupings,
for example, percussion for fairies; strings and woodwind
for humans; bassoon and deeper brass for the rustics.”
Britten’s
treatment of each character and the way in which each performer
tackles his demands is key to understanding the overall concept.
Let’s take the ‘mechanicals’ or as Britten calls them ‘The
Rustics’. Is it possible to write ‘funny’ music? Is there
a danger of poking fun at simple country characters beyond
what Shakespeare actually intended? In my view Britten’s
characterisation is mannered and dull in Act I. In Act III,
the play within the play, he writes genuinely witty and sensitive
music for each character. It is, quite rightly, pointed out
that in this section Britten spoofs Italian opera, especially
Donizetti. Thisby’s aria which appears to be in a different
key from the orchestra offers good fun. But I can also hear
Sullivan in these strong characterisations, the Lion particularly
so, with its soldier-like accompaniment and rhythm. I do
not find Bottom successful. Both in the music given to him
and in Donald Maxwell’s overly authoritative portrayal he
seems to be more the precursor of King Nebuchadnezzar in ‘The
Burning Fiery Furnace’ which was to follow six years later.
Sadly the character lacks humour and I find it impossible
to find sympathy with his simplistic enjoyment of the fairy
den or with his rustic companions.
It
would be tedious and unnecessary to discuss all the performers,
but I would mention the Fairies. Being Britten these are
of course a quartet of boys; in this case drawn from Trinity
Boys Choir. The choir’s inspirational director, the great
David Squibb, ensures that they are superbly drilled and
very mature in their performance. Dexter Fletcher has a wonderful
way with his spoken text and a great sense of timing. From
the booklet photos he looks as if he had a suitably panther-like
quality and even a touch of androgyny. Each of the women
seems to be very well cast and it is an especial pleasure
to hear Jill Gomez in such spirited voice.
There
is an great sense of stereo spacing but sometimes a voice
is not quite picked up. I found myself having to adjust the
volume on the amplifier, especially for the initial tracks
of Act III which opens with magical woodland music and builds
to a climax as the lovers angrily emerge, searching for their
partners.
As
I am sure you can detect I am somewhat luke-warm about both
the opera and this recording. To offer a strong counter-view
I will end with another quote; this one by Gerhard von Westerman
from his useful ‘Opera Guide’ (Thames and Hudson, 1964): “The
play and opera take place on three planes; the world of the
fairies, the world of the lovers, and the world of the rustics.
Britten has provided each with characteristic music, and
[the result] must rank as a masterpiece.” Sadly I cannot
entirely agree, but you might.