In recent years, tenor Stuart Skelton has made quite a reputation depicting Peter Grimes, the namesake of Britten’s 1945 operatic masterpiece. Together with Edward Gardner conducting the Bergen Philharmonic, and a highly commendable cast, they have given a number of unforgettable concert performances of the opera.
The performance is exceptionally tight and engaging — a credit to the caliber of the casting, with practically no weak links. The characterization and sociable observance for the cast bring a convincing portrayal of their roles. Skelton is nothing short of remarkable. This is a challenging role, both physically and psychologically, and he gets into the mindset of this unconventional social misfit, sustaining interest by maintaining an air of spontaneity. Erin Hall as Ellen Orford has a voice that contrasts and complements Skelton’s. Whereas the tenor brings out all complexities of Grimes’ character, Hall captures something very different with her innocence, tenderly conveys all the compassion Ellen has for Grimes.
Britten himself famously recorded Peter Grimes with his partner, the tenor Peter Pears in the title role, considered a benchmark by which all recordings are measured. Chandos’ previous “Grimes” with Philip Langridge and Richard Hickox has been the other recommendation. Langridge is closer to Pears in tone than Skelton. The latter’s voice is larger and richer than Pears’ or Langridge’s, perhaps more intensely expressive. He does not attempt to recreate Pears, and brings a different emphasis to the sinister facets of Grimes’ personality.
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The rest of the cast includes a range of singers who hold British music at the core of their repertoire, which really enhances the overall experience. They find the subtleties of the text and bring them alive with vivid characterization. Catherine Wyn-Rogers brings out all the anxieties and the nosiness of the laudanum-addicted Mrs. Sedley; Roderick Williams takes the role of Captain Balstrode, depicting the character with confidence; whilst the lighter hues of James Gilchrist brings out all the gentility of Rector Horace Adams.
The Booklet lists four choirs who participate in this recording. Still, there is clarity of diction and they project a menacing quality to the crowd scenes when needed, with infectious excitement and dynamic energy, helped by their sheer numbers. The orchestral interludes are superbly played, fully realizing the virtuosity in their parts. Interestingly, Gardner has previously recorded the Sea Interludes with the BBC Philharmonic. Recognizing the creativity and ingenuity of Britten’s orchestrations, Gardner paces them slightly different this time, maybe adapting to their operatic context.
An outstanding recording quality, made in Grieghallen, Bergen, Norway, with a spacious yet detailed sound picture. This is a case where one doesn’t need visuals, the audio alone creates the imagery of the opera stage. The changing distances at which the soloists and chorus are captured aid the dramatic and operatic experience. The singers move across panoramically while the orchestra remains in-place, demonstrating the care and attention Chandos engineers have taken to project the narrative.
The cast, chorus, orchestra, and conductor share a cohesive vision here. Together they highlight the tragedies and ambiguities of the plot, which are powerfully convincing and intensely engaging, sometimes terrifying. A must-have recording for any Britten or opera aficionado.
Britten – Peter Grimes
Stuart Skelton – Tenor (Peter Grimes)
Erin Wall – Soprano (Ellen Orford)
Bergen Philharmonic Choir
Edvard Grieg Kor
Royal Northern College of Music Chorus
Choir of Collegium Musicum
Bergen Philharmonic Orchestra
Edward Gardner – Conductor
Chandos, hybrid SACD 5250
Britten Peter Grimes – Recommended Comparisons
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