Peter Grimes: text in Vickers recording
Stephen Cornell
Peter Grimes. The text in this recording departs occasionally from the
published libretto. The most dramatic instances occur in Grimes' own part,
but there are also small differences in other parts (singular becomes plural,
that sort of thing). Does anyone know why these differences occur? Was it
at the producer's suggestion, at Vickers' insistance, or were they simple
lapses of memory? How did Britten feel about the changes?
By the way, I'd like to suggest that Grimes' act 3 monologue is one of the
most intense "arias" I know.
Stephen Cornell.
--
"I'd rather be drunk than think of England."
Robin Fairbairns
|> I recently took delivery of the superb Davis/Vickers recording of Britten's
|> Peter Grimes. The text in this recording departs occasionally from the
|> How did Britten feel about the changes?
Difficult to tell, except by sitting by his grave and listening for
the grinding of gears as he revolves. Britten died in the 60s (I
think), the Davis recording is a relatively recent one.
|> By the way, I'd like to suggest that Grimes' act 3 monologue is one of the
|> most intense "arias" I know.
But not for those not attuned to Britten, I find... (I agree with
you.)
--
Robin (Keep Radio 3 != Classic FM) Fairbairns r...@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge CB2 3QG, UK
Jon Conrad
>I recently took delivery of the superb Davis/Vickers recording of Britten's
>Peter Grimes. The text in this recording departs occasionally from the
>published libretto. The most dramatic instances occur in Grimes' own part,
>but there are also small differences in other parts (singular becomes plural,
>that sort of thing). Does anyone know why these differences occur? Was it
>at the producer's suggestion,
In a sense, using "producer" in its older British sense to mean "stage
director." Tyrone Guthrie, who directed many productions of GRIMES
including the Met production when it was new in 1967, decided he didn't
like certain lines in the libretto, and changed them. He claimed that
Britten liked these changes, but all evidence points the other way.
Anyhow, when he came to the Met to direct it, Vickers was essaying
Grimes for the first time, and Guthrie had him learn these changes as
integral parts of the role. Vickers never sang it differently
thereafter.
>at Vickers' insistance,
No, but he acquiesed, and never investigated further how "authorized"
they were. Even last year, in an interview in OPERA NEWS, he was
insisting that they were Britten's own idea and he was eager to make
them. But then, Vickers has silly ideas about a lot to do with this
opera (he still says that "Pears played Grimes as a homosexual" in the
original production -- and, as a separate issue, he adds that to do so
diminishes the universality of Grimes's character). For all the
memorability and insight of his stage portrayals, Vickers seems not
really to be a very smart man.
>How did Britten feel about the changes?
He hated them. But he let them go, because Vickers was bringing new
popularity and currency to the opera. But he deplored the changes to
his friends. (He didn't care for Vickers's interpretation of the role
in general, but that's understandable as it was so different from
Pears's.)
Jon Alan Conrad
Robert Coren
|> In article <1993Aug19.1...@news.unige.ch>, cor...@scsun.unige.ch (Stephen Cornell) writes:
|> |> I recently took delivery of the superb Davis/Vickers recording of Britten's
|> |> Peter Grimes. The text in this recording departs occasionally from the
|> |> published libretto. [...]
|> |> How did Britten feel about the changes?
|>
|> Difficult to tell, except by sitting by his grave and listening for
|> the grinding of gears as he revolves. Britten died in the 60s (I
|> think), the Davis recording is a relatively recent one.
Britten died in 1976. I don't know when this recording was made, but
Jon Conrad has already explained that these cuts date from the 1960s
and that Britten knew about them, disliked them, and put up with them.
Steve R. Van Dien
And I wish Jon would tell us how he knows about this -- whether it's
inside info, or to be found in one of the Britten bios. I don't doubt the
veracity of Jon's info; I'm just wondering where and how he got it --
Steve Van Dien
ROB...@vm.temple.edu
References: <1993Aug19.1...@news.unige.ch>
X-Newsreader: NNR/VM S_1.3.2
Britten authorized the changes for an earlier production. When the libretto
was being crafted from Crabbe's (?) the village, Grimes was trnasformed
from the more monstrous character he was in the original. Vickers wanted
some of the demon back. Again, this was authorized. And if Vickers'
peformance isn't one of the greatest perfromances of anything, i don't know
what is (and on 2 midprice cds!) Robin Mitchell
In article <1993Aug19.1...@news.unige.ch>
cor...@scsun.unige.ch (Stephen Cornell) writes:
>
>I recently took delivery of the superb Davis/Vickers recording of Britten's
>Peter Grimes. The text in this recording departs occasionally from the
>published libretto. The most dramatic instances occur in Grimes' own part,
>but there are also small differences in other parts (singular becomes plural,
>that sort of thing). Does anyone know why these differences occur? Was it
>at the producer's suggestion, at Vickers' insistance, or were they simple
>lapses of memory? How did Britten feel about the changes?
>
>By the way, I'd like to suggest that Grimes' act 3 monologue is one of the
>most intense "arias" I know.
>
Jon Conrad
> And I wish Jon would tell us how he knows about this -- whether it's
>inside info, or to be found in one of the Britten bios. I don't doubt the
>veracity of Jon's info; I'm just wondering where and how he got it --
Scattered around different places, unfortunately. Andrew Porter's
various mentions of GRIMES in the NEW YORKER, some of which may be in
one of his book collections. The Cambridge Opera Handbook on GRIMES
edited by Philip Brett. Probably one or more magazine articles, in
OPERA or OPERA QUARTERLY. *Maybe* one or another of the Britten bios (I
think I've read them all), though if so I don't know which one. None of
it was "inside info," I would have read it.
Jon Alan Conrad
Mark Kemball
>Organization: Temple University
>References: <1993Aug19.1...@news.unige.ch>
>X-Newsreader: NNR/VM S_1.3.2
>Britten authorized the changes for an earlier production. When the libretto
>was being crafted from Crabbe's (?) the village,
^^^^^^^^ ^^^^^^^^^^^^
Yes Actually, The Borough
Mark Kemball
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e-mail kemb...@ohsu.edu