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  PETER GRIMES

Welsh National Opera at Wales Millennium Centre *****

Making his debut in the role, Nicky Spence’s interpretation of the character of Peter Grimes comes as something as a revelation to those already familiar with Britten’s opera.

Instead of portraying the fisherman as an out-and-out psychopath whose ending we can foresee right from the start, Spence makes him a more rounded individual, capable of affection and aspiration, which makes his eventual fate chilling rather than predictable.

This production, directed by Melly Still, sets Grimes as an object of self-righteous gossipy scandal from the good citizens (each with their own secret vices) of the Borough, a thinly-disguised Aldeburgh,Britten pinpointing them so shrewdly, himself a victim of ostracisation and prejudice. Each one is well characterised in this production, but there are three main characters who have an influence upon Grimes’ destiny.

David Kempster is a sympathetic, wise Captain Balstrode, Sarah Connolly (accompanying Spence in his role debut here just as she did for his debut as Elgar’s Gerontius) sings warmly as the publican Auntie, perhaps at odds with her mannish, biker persona in this 1980s updating, and Sally Matthews could have been allowed a deeper immersal into the role of Ellen Orford, the schoolmistress who strives to redeem the troubled Grimes. Of the other villagers Catherine Wyn Rogers is a redoubtable Mrs Sedley, meddling amateur sleuth.

There is another major character in this production. Chiara Stephenson’s economical and resourceful set dominated by a hanging fishing-boat which twists and lowers in response to the action, casting a presence which chills throughout; its puppeteer-like operator deserved a special credit all their own. At least the group of dancers, graceful and purposeful in their scene-shifting, had their names in the programme.

The superlative WNO Chorus bustles with vigour and characterisation, the orchestra responds to Britten’s searching score with colour and accuracy, and all is marshalled by WNO music director Tomas Hanus with an authority to match that which he brought to the company’s recent stunning Death in Venice.

But to return to Spence, he is the quintessential Grimes, his ringing voice emerging from a burly, sailor-gaited presence (how did the sparrow-like Peter Pears ever carry this off?), and totally moving our sympathy as he rows out into the sea with the spirits of his two dead apprentices, ready to scupper himself.

Christopher Morley

*Birmingham Hippodrome May 10



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