History may well reveal
Tippett’s opera The Midsummer Marriage
to be his greatest work. Sir Colin Davis
is certainly a man on a mission to convince
you of this. He inspires the Chorus
(resplendent) and Orchestra of Covent
Garden to truly great things. Rarely
will you hear an uncompromising twentieth-century
work such as this one sung and played
with such almighty belief. The sheer
standard of orchestral playing almost
beggars belief (who does one highlight
given the prevailing excellence – maybe
the flutes, as they have a lot to do
with conjuring up this magical world?).
This standard is replicated in a recording
of the very first rank. Detailed without
being sterile, all credit is due to
the engineers.
The disc layout works
out perfectly, so that three of the
famous ‘Ritual Dances’ kick off the
second disc. The lively characterisation
Davis gets from his players here sums
up the orchestra’s commitment to the
entire endeavour. Personally, I am not
a fan of Sir Colin in everything he
does, but here (as also in Berlioz)
he seems at one with the composer’s
intent. His way with the third ritual
dance is such that the music is the
perfect representation of the title,
‘The Air in Spring’. It is very much
like having the score laid bare in front
of your very ears. Davis is also responsive
to the various comings and goings of
tension – try the way he tightens the
dramatic screw at the end of Act I (the
brass are at the very height of their
powers here).
The cast may well be
a cause for nostalgia amongst certain
readers, possibly especially the name
of Elizabeth Harwood, who seems to be
remembered with so much fondness. Here
she takes the role of Bella (King Fisher’s
secretary) – her voice is very lovely
indeed. Joan Carlyle is a strong and
characterful Jenifer (her aria, CD1
track 13, is jolly in a very Tippett
way).
Raymond Herincx reveals
King Fisher to be a character of real
majesty, yet a flawed one (something
along the lines of Wotan, perhaps) His
long solos in Act I Scene 6 are particularly
impressive.
Helen Watts assumes
on Tippett’s take on Wagner’s Erda,
Sosostris (which character is described
as ‘a clairvoyante’). She has a large
vocal sense of presence (try her solo
in Act III Scene 5; CD2, tracks 11-13).
As Mark, Alberto Remedios emerges as
an ardent and lyrical tenor, particularly
heroic towards the end of Act I.
Even the smaller roles
are well taken (David Whelan’s ‘Half-Tipsy
Man’ is great fun, for example). Holding
it all together is Colin Davis’s baton.
Davis’s pacing seems unerring throughout,
never rushing so that detail always
comes through.
It is true that the
plot is heavily symbolic (due to its
dream-like basis) and does not reveal
its secrets on initial hearings. But
that is all part of the music’s depth,
and should be taken as a call to many
rehearings.
No opera-lover should
be without this set. Even if you think
you have an aversion for Tippett, do
give it a try as this seems to be the
work in which his creative energies
reached a zenith. The score demands
a high degree of concentration from
the listener – but its rewards are many
and varied.
Presentation is excellent,
with full libretto, essay and synopsis
by David Cairns, and some reprinted
excerpts from ‘The Birth of an Opera’
by Tippett himself.
Colin Clarke
The
Lyrita catalogue
Chorus and Orchestra of the Royal Opera House,
Covent Garden/Colin Davis.