I grew up with this recording. And I saw Jon Vickers do it at the Met when I was a kid. I sat in front row, behind Sir John Prichard conducting. Needless to say, Vickers was thrilling! One of the highlights of my life.
I heard this work quite early in my opera explorations. It blew me away. Those of us who grew up in the vicinity of salt water know how uncannily Britten painted it in tone. The surge of the waves, the surf, the seagulls cries, and, in Act 3, the sound of the fog horns when it covers the water, on tubas and horns. Vickers in the a capella mad scene is mesmerizing. Unforgettable.
I saw this production with Vickers and Harper when it came to LA for the Olympics. It is still the greatest operatic production/performance I've ever seen...and I've seen a ton having been in the SF opera chorus and living in NYC for 27 yes and regularly going to the Met. It's just, in my opinion the greatest 20th century opera and Vickers was beyond amazing in every way. I've seen several PG productions since and left disappointed. It will just never be this good again. I also own this recording and it takes me right back to that live performance every time.
I'll never forget the first time I heard this recording. At the end of the prologue the start of the first sea interlude came as a beautiful shock. A very intense performance!
The funny thing is that Britten HATED Vickers' Grimes, he saw the character as a misunderstood poet and not as a brutish man, but both versions work perfectly.
In an interview Vickers said he believed the opera was "about homosexuality" and interpreted Grimes accordingly. After Britten's death Peter Pears told Vickers that this was a valid interpretation.
But I think the brutish man interpretation distracts somewhat from the systemic things that led to the problem, imo, as symbolized by the wildness of the sea...there was some hypocrisy among the townsfolk who could have done more to keep it from happening for example.
I wouldn't say that Vickers' Grimes is entirely brutish. It can get pretty intense, like a lot of the man's interpretations, but there is a poet in there somewhere.
I had not known the opera when I went to see the performance at the Met in the early 70s. I had a student ticket. I was overwhelmed by Jon Vickers. I went again to see the performance the following week and again years later when the Met came to Washinton (one of Vickers last performances of the role). I have seen Peter Pears in the role on DVD - in my opinion no comparison. Vickers sang the role all over the world. Britten may not have liked his interpretation, but he was responsible in making it a standard repertoire piece. To have seen Jon Vickers on the stage in this role will never forget it. Every time I see new productions of Peter Grimes - I miss Vickers awesome performance.
100% agree. I saw JV sing it at the MET in '83. Nothing like I've ever experienced. However, when I saw the Pears DVD, I loved it. Different character interpretation, but a fantastic production. Vickers vs Pears is like comparing Hank Aaron to Bob Gibson. It just can't be done.
I was at one of those DC performances. I was in music school studying voice and was overwhelmed by Vickers. I also saw him sing Siegmund in Die Walkure during that tour.
Sometimes composer of opera becomes so close to his work that they lose perspective on the nature & portrayal of the characters they have created. Britten it seems could not accept the variety of possibilities in the complex character of Grimes that he envisioned, especially in how Vickers saw the character of Grimes. Ironically Britten built these complexities into his own creation of Grimes but this of genius then made it difficult for him to accept other interpretations at odds with what he perceived about Grimes when he first became intrigued with the character. It is a credit to Britten’s talent that two such different dramatic interpretations by Pears & Vickers have their own validity but this he could never come to terms with. I saw Pears in a television production made in 1969 when he was close to 60 & even at this age (which, I believe, was also Pears final performance of the role) he still made a vivid impression even after having sung the role for nearly a quarter of a century. An alternate approach from Vickers, which I saw live in Seattle in 1983, was just as valid & exciting, IMO. He was also close to the same age as was Pears in that 1969 production. If I have a preference for Vickers at all it is based also on the DVD of Grimes from the late 1970’s where one can observe additional nuances on repeated viewings. These nuances might be observed in Pears performances over the years as well but I was only able to base my opinions of Pears work, on that one TV performance that I saw. I was never aware of Pear’s own views on Vickers work (during Britten’s life this might have been a dicey subject to bring up between them) nor vice versa but the fact remains that Britten’s own genius in conceiving Grimes unfortunately blinded his own ability to accept the enormous variations possible in the character’s interpretations which he made possible & the resulting ways in which the character could be portrayed by artists as different as Pears & Vickers.
Thanks for this Dave. I had quite a bit of Britten on vinyl in the past, but these days don't listen to him much. Sinfonia da Requiem, Peter Grimes and, very occasionally, the War Requiem. I did see a live performance of Death in Venice at the Adelaide Festival over 40 years ago. It was a memorable performance, but I have never felt the need to own a recording of it. A few people here have commented on Peter Pears and have been critical of the character of Britten, with good reason. I remember about 50 years ago the English comedians Peter Cook and Dudley Moore sang 'How Now Brown Cow' in a ridiculously stilted and serious manner. Unfortunately, it does not seem to have made it to UA-cam, but it was a savage parody of Britten and Pears, probably only understood by a minority of viewers. It may have been close to actionable but was very, very funny.
What a coincidence! Just the other night I was wandering around the house singing "Old Joe Has Gone Fishing." Reliving my youth, I guess. We sang it in my high school choir, lo these 50 years ago.
I've sung the same thing in my apt, in the subway station, walking on Northern Blvd, Queens. It's nice to know I'm not the only demented individual who thinks this way. "Now is Gossip Put on Trial...Bring the Brandon Iron and Knife...oh forget it..I'm insane.
Love this Grimes recording above all thr rest. Just seems more real ie Vickers v Pears or Langridge. The opera is just fantastic - urge anyone who hasn't to give it ago.
I think this orchestral contribution shows how spirited playing can make up for any certain lack of tonal refinement or sophistication...maybe even more than make up for it.
I was fortunate enough to have seen this production at Covent Garden.... a devastating experience and one of the very few productions I saw there to have succeeded on every level. Not, however, a universal opinion: Britten apparently hated it.
Britten had a personal and proprietary interest in his own Peter's interpretation, Pears. The Decca recording under Britten is great, though Pears was a bit past his prime and is much better, more robust, more credible, in the excerpts EMI recorded in the late 40s.
How exciting! My favorite Britten opera second only to Billy Budd; have cherished this recording for ages (have it on Philips - along with the Britten on London and the Haitink on EMI) any thoughts on those?
I second what Dave says about Haitink. The Hickox recording is well worth having; Philip Langridge was a superb Grimes on stage, and it's good to have him on record. I'd also recommend Edward Gardner's recent, and excellent, recording on Chandos with Stuart Skelton in the title role.
@@ftumschk Thnx, Ill investigate the two Chandos recommendations; also, I’ll be listening to the Haitink tonight to see what all this boredom is about! In addition, I have a second Colin Davis recording on the LSO label that I haven’t heard yet…
No one who took the time to go into the studio and record this opera has made a bad recording, Haitink maybe the least interesting but Anthony Rolfe Johnson still sings it beautifully. I don’t think any Britten opera has received a “bad” performance in the studio. He knew how to write for voices and if you get intelligent singers who know what they’re doing, it all generally goes pretty well.
Love Grimes musically and most of Britten's opera's But the further we get from them - the more it Looks like "in plain sight" - leading through Turn of the Screw to Death in Venice. The obsession with the coruuption of ...pull no punches...boys. Physically by Grimes, beyond the grave by Quint or lusted after by Aschenbach. Brttten wanted naked boy dancers at the ROH first production. At the Red House there are statues of pre-pubecent boys. Tasteful nude Hellenic ones of course. John Bridcut's book and films have explored with at least enough early relationships and events to cause concern. .Carpenter's biography too. Charles MacKerras was shunned when he made sarcastic raised eyebrows. But lets set aside 'he saids' - just look at the obsessions of the operas. Death in Venice is a sometimes miraculous score. But what is it put to service for.....a mawkish 'why can't I?' Aimed at a child..... I love the music but what exactly am i supposed to take from the sung message?
@@alanmillsaps2810 thanks. perils of aging sight and phone typing. Probably in my top 5 fav orchestral composers. But Auden called Britten on his ""attraction to thin-as-a-board juveniles". Their relationship never seemingly recovered. The more you dig into it the more you don't like. The activity of organisations like PIE in British society at the time - of course this was a time where there was minstrel shows on national TV. A complete other country is this past. But as I said, put it all to one side, and just think what idea, what train of thought is being animated by such often beautiful, piercing music. And why?
@@alanmillsaps2810 I think the dark aspects of these works should give rise to a sense of concern in the listener about the overall human condition, not just the peculiarities of the characters because that would be impersonal. The focus on a particular subject shouldn't be judged without registering that concern
I grew up with this recording. And I saw Jon Vickers do it at the Met when I was a kid. I sat in front row, behind Sir John Prichard conducting. Needless to say, Vickers was thrilling! One of the highlights of my life.
I heard this work quite early in my opera explorations. It blew me away. Those of us who grew up in the vicinity of salt water know how uncannily Britten painted it in tone. The surge of the waves, the surf, the seagulls cries, and, in Act 3, the sound of the fog horns when it covers the water, on tubas and horns.
Vickers in the a capella mad scene is mesmerizing. Unforgettable.
Would love to hear Colin Davis’ recollection of what Britten might have said to him about it
I saw this production with Vickers and Harper when it came to LA for the Olympics. It is still the greatest operatic production/performance I've ever seen...and I've seen a ton having been in the SF opera chorus and living in NYC for 27 yes and regularly going to the Met. It's just, in my opinion the greatest 20th century opera and Vickers was beyond amazing in every way. I've seen several PG productions since and left disappointed. It will just never be this good again. I also own this recording and it takes me right back to that live performance every time.
I'll never forget the first time I heard this recording. At the end of the prologue the start of the first sea interlude came as a beautiful shock. A very intense performance!
Great that Heather Harper is getting more airtime with these Decca reissues. A fabulous singer!
The funny thing is that Britten HATED Vickers' Grimes, he saw the character as a misunderstood poet and not as a brutish man, but both versions work perfectly.
In an interview Vickers said he believed the opera was "about homosexuality" and interpreted Grimes accordingly. After Britten's death Peter Pears told Vickers that this was a valid interpretation.
Britten also hated a few changes that Vickers made in the text.
But I think the brutish man interpretation distracts somewhat from the systemic things that led to the problem, imo, as symbolized by the wildness of the sea...there was some hypocrisy among the townsfolk who could have done more to keep it from happening for example.
@@poturbg8698 can you remember an example of a text change ?
I wouldn't say that Vickers' Grimes is entirely brutish. It can get pretty intense, like a lot of the man's interpretations, but there is a poet in there somewhere.
I had not known the opera when I went to see the performance at the Met in the early 70s. I had a student ticket. I was overwhelmed by Jon Vickers. I went again to see the performance the following week and again years later when the Met came to Washinton (one of Vickers last performances of the role). I have seen Peter Pears in the role on DVD - in my opinion no comparison. Vickers sang the role all over the world. Britten may not have liked his interpretation, but he was responsible in making it a standard repertoire piece. To have seen Jon Vickers on the stage in this role will never forget it.
Every time I see new productions of Peter Grimes - I miss Vickers awesome performance.
100% agree. I saw JV sing it at the MET in '83. Nothing like I've ever experienced. However, when I saw the Pears DVD, I loved it. Different character interpretation, but a fantastic production. Vickers vs Pears is like comparing Hank Aaron to Bob Gibson. It just can't be done.
I was at one of those DC performances. I was in music school studying voice and was overwhelmed by Vickers. I also saw him sing Siegmund in Die Walkure during that tour.
@@GarthAstrology i saw both performances....what a great singer
@@jerelzoltick6900 He and Johanna Meier were so good in the first act. Walkure was the first opera I saw live.
(Your mention of Phyllis Curtin makes me think of her uniquely Fantastic singing of Sibelius’ Luonattar with Bernstein
Sometimes composer of opera becomes so close to his work that they lose perspective on the nature & portrayal of the characters they have created. Britten it seems could not accept the variety of possibilities in the complex character of Grimes that he envisioned, especially in how Vickers saw the character of Grimes. Ironically Britten built these complexities into his own creation of Grimes but this of genius then made it difficult for him to accept other interpretations at odds with what he perceived about Grimes when he first became intrigued with the character.
It is a credit to Britten’s talent that two such different dramatic interpretations by Pears & Vickers have their own validity but this he could never come to terms with. I saw Pears in a television production made in 1969 when he was close to 60 & even at this age (which, I believe, was also Pears final performance of the role) he still made a vivid impression even after having sung the role for nearly a quarter of a century. An alternate approach from Vickers, which I saw live in Seattle in 1983, was just as valid & exciting, IMO. He was also close to the same age as was Pears in that 1969 production. If I have a preference for Vickers at all it is based also on the DVD of Grimes from the late 1970’s where one can observe additional nuances on repeated viewings. These nuances might be observed in Pears performances over the years as well but I was only able to base my opinions of Pears work, on that one TV performance that I saw.
I was never aware of Pear’s own views on Vickers work (during Britten’s life this might have been a dicey subject to bring up between them) nor vice versa but the fact remains that Britten’s own genius in conceiving Grimes unfortunately blinded his own ability to accept the enormous variations possible in the character’s interpretations which he made possible & the resulting ways in which the character could be portrayed by artists as different as Pears & Vickers.
Thanks for this Dave. I had quite a bit of Britten on vinyl in the past, but these days don't listen to him much. Sinfonia da Requiem, Peter Grimes and, very occasionally, the War Requiem. I did see a live performance of Death in Venice at the Adelaide Festival over 40 years ago. It was a memorable performance, but I have never felt the need to own a recording of it. A few people here have commented on Peter Pears and have been critical of the character of Britten, with good reason.
I remember about 50 years ago the English comedians Peter Cook and Dudley Moore sang 'How Now Brown Cow' in a ridiculously stilted and serious manner. Unfortunately, it does not seem to have made it to UA-cam, but it was a savage parody of Britten and Pears, probably only understood by a minority of viewers. It may have been close to actionable but was very, very funny.
You can find their "Little Miss Muffet" which is also hilarious.
What a coincidence! Just the other night I was wandering around the house singing "Old Joe Has Gone Fishing." Reliving my youth, I guess. We sang it in my high school choir, lo these 50 years ago.
I've sung the same thing in my apt, in the subway station, walking on Northern Blvd, Queens. It's nice to know I'm not the only demented individual who thinks this way. "Now is Gossip Put on Trial...Bring the Brandon Iron and Knife...oh forget it..I'm insane.
Love this Grimes recording above all thr rest. Just seems more real ie Vickers v Pears or Langridge. The opera is just fantastic - urge anyone who hasn't to give it ago.
Bernstein conducted the American premiere--too bad he never recorded it.
At least he recorded the "Sea Interludes" and Passacaglia, which are extraordinary.
I think this orchestral contribution shows how spirited playing can make up for any certain lack of tonal refinement or sophistication...maybe even more than make up for it.
I was fortunate enough to have seen this production at Covent Garden.... a devastating experience and one of the very few productions I saw there to have succeeded on every level. Not, however, a universal opinion: Britten apparently hated it.
Sure he did, given his own interpretation.
Britten had a personal and proprietary interest in his own Peter's interpretation, Pears. The Decca recording under Britten is great, though Pears was a bit past his prime and is much better, more robust, more credible, in the excerpts EMI recorded in the late 40s.
This was my first encounter with the operas of Britten. Vickers will always be "the" Peter Grimes for me.
How exciting! My favorite Britten opera second only to Billy Budd; have cherished this recording for ages (have it on Philips - along with the Britten on London and the Haitink on EMI) any thoughts on those?
Britten is great, Haitink is a bore.
I second what Dave says about Haitink. The Hickox recording is well worth having; Philip Langridge was a superb Grimes on stage, and it's good to have him on record. I'd also recommend Edward Gardner's recent, and excellent, recording on Chandos with Stuart Skelton in the title role.
@@ftumschk Thnx, Ill investigate the two Chandos recommendations; also, I’ll be listening to the Haitink tonight to see what all this boredom is about! In addition, I have a second Colin Davis recording on the LSO label that I haven’t heard yet…
Is it allowed to say this is better than the Pears/Britten?
Sure!
No one who took the time to go into the studio and record this opera has made a bad recording, Haitink maybe the least interesting but Anthony Rolfe Johnson still sings it beautifully.
I don’t think any Britten opera has received a “bad” performance in the studio. He knew how to write for voices and if you get intelligent singers who know what they’re doing, it all generally goes pretty well.
I call Haitink's "least interesting" version "bad," despite some good singing. Boring is always bad.
Fantastic acoustics. I don't fee that Heather harper sounds past her prime. She was only 47 when she recorded it.
Love Grimes musically and most of Britten's opera's But the further we get from them - the more it Looks like "in plain sight" - leading through Turn of the Screw to Death in Venice. The obsession with the coruuption of ...pull no punches...boys. Physically by Grimes, beyond the grave by Quint or lusted after by Aschenbach. Brttten wanted naked boy dancers at the ROH first production. At the Red House there are statues of pre-pubecent boys. Tasteful nude Hellenic ones of course. John Bridcut's book and films have explored with at least enough early relationships and events to cause concern. .Carpenter's biography too. Charles MacKerras was shunned when he made sarcastic raised eyebrows. But lets set aside 'he saids' - just look at the obsessions of the operas. Death in Venice is a sometimes miraculous score. But what is it put to service for.....a mawkish 'why can't I?' Aimed at a child..... I love the music but what exactly am i supposed to take from the sung message?
I believe you meant 'sight', not 'site', but you are correct about the disturbing subtext in all these works.
@@alanmillsaps2810 thanks. perils of aging sight and phone typing. Probably in my top 5 fav orchestral composers. But Auden called Britten on his ""attraction to thin-as-a-board juveniles". Their relationship never seemingly recovered. The more you dig into it the more you don't like. The activity of organisations like PIE in British society at the time - of course this was a time where there was minstrel shows on national TV. A complete other country is this past. But as I said, put it all to one side, and just think what idea, what train of thought is being animated by such often beautiful, piercing music. And why?
These reactions are objectified.
@@adamfrye246 Apparently straightforward declarative sentences have subtexts as well. Pray tell what is an 'objectified' reaction?
@@alanmillsaps2810 I think the dark aspects of these works should give rise to a sense of concern in the listener about the overall human condition, not just the peculiarities of the characters because that would be impersonal. The focus on a particular subject shouldn't be judged without registering that concern