Read review by Padraig Meredith
As 'The Turn of the Screw' run ends tomorrow night, I thought I would share some of my thoughts about the opera production. I attended Frances Spalding's pre-opera talk and it was quite interesting, particularly as I am a PhD student in contemporary opera, however I felt that the pre-opera talk would have been more insightful on both the music and the production if the speaker was someone with expertise in these areas as opposed to the author of a book on the librettist, however as I said the talk was still quite interesting. Firstly the production is obviously a chamber style opera with a reduced group of instrumentalists, I particularly enjoyed the performance of the ensemble under Sir Charles Mackerras who performed the score with a sensitivity and musicality which complimented both the drama and the vocalists. The concept and direction of the production was focused, fast paced, and coherent. The cast also shared a common dramatic goal which sharpened the focus of the production. Particularly strong was Ann Murray as Mrs. Grose and Cheryl Barker as Miss Jessel, as well as a striking performance by Rebecca Evans as the Governess, however the stars of the production for me were both the young singers in the roles of Charlie Manton as Miles and Nazan Fikret as Flora. I thought the portrayal of Miles was quite complex - with the young singer presenting both the incredible vulnerable of the role while also containing a level of maturity and humour. The design of the production was also very strong and showed great sensitivity and care to the music!
Read review by Neil Mach
Twirling crisp leaves gold on black, twist and spin in the wind. Dark, damp creaking wood creates the cobwebbed dankly wormy atmosphere in the bleak old house, that only becomes partially awake each morning with a glimmer of the limp autumn sun. This is gloomy setting of Bly for The Turn of the Screw (BRITTEN.)
After the brief introduction, we glimpse the governor [Rebecca Evans] on her way to the House of Bly - aboard a train whose motion and rhythms are represented by the percussion [William Lockhart] and, soon enough, we arrive in best spirits at the house.
It has been left to two children and their housekeeper Mrs Grose [Ann Murray] by an absent guardian. Immediately the new governess is smitten and enamoured by the children but especially by the boy - Miles - played at our performance by Charles Manton. The children show the governess around the house and grounds and all seems well.
But it seems that the house contains some disturbing secrets and unanswered questions.. Why was Miles (an angelic boy) permanently expelled from his school? Why has the guardian left - seemingly forever - and forbids no communication? Who is Quint? And where is the old housekeeper? Mists and the wet leaf-fall infestation are crafted with the gentleness of sweet strings (first violinist Janice Graham) and weakly shield us, at first, from the disturbing secrets lying beneath their gentle folds. Pederasty and paedophilia are not far away - and even more disturbing horrors lurk in the dark scenery. Soon, a phantom figure (Quint : Michael Colvin) is seen lurking in the grounds - and all the innocence, lightness and the light of day is drained from the world.
We begin to enter into an almost subterranean creation of dark and disturbing secrets. Lies and night-time evils disturb and disrupt any regular patterns or rhythms we might assume to expect. Even a simple lesson in Latin grammar 'Malo' turns into a puzzle for young Miles- and becomes becomes a stink-trap of self loathing and anxiety . All this is delicately and beautifully woven from Britten's twelve-tone 'Screw' theme.
Some simple lightness, such as the nursery rhymes 'Tom, Tom, the Piper's Son' and 'Lavender's Blue' or Flora playing the Cat's Cradle are also hauntingly turned into nightmares, creating a sense of unease and a real cause for concern. Rebecca Evans's (Governess) voice is often interlaced with the soprano voices of both Nazan Fikret (Flora) and Mrs Grose or Cheryl Barker (Miss Jessell) to create a labyrinth of icy cold liquid patterns. The sounds are very rarely addressed or clarified except by scant interactions from Micha el Colvin (Quint) as the one and only tenor.
Too quickly we are buried and suffocated by the dark themes and the relentless twisting motifs of the opera and all that remains within the heart is the certain expectation of unspeakable dread.
Read review by A.J. Powell
I must thank the whole company, for the culturally refreshing experience of allowing me to take part in their superb interpretation of The Turn Of The Screw. I say take part, because of all operas, TTOTS is surely one where you are drawn into the action and psychological consequences. An amazing achievement, considering the small ensemble, the size of the theatre and I was in the gods!
Under Sir Charles Mackerras the orchestra were absolutely magnificent. Each line of sound perfectly balanced and reaching us with an amazing clarity. This of course is due to Britten's genius, but such a small ensemble could easily have got lost in the large auditorium of The Coliseum. But it didn't. It spoke individually to us. Quite uncannily superb. Added to this, the vocal clarity and dexterity of each singer was fir st class. I used the surtitles mainly because they were there, but unlike many productions, could have well done without them. I didn't buy a programme, but the cast, vocally and dramatically were quite superb, and the young man playing Miles, quite outstanding for such a demanding role. Congratulations to them and him. The setting was ingenious, evocative, and the change of scene fitted dramatically to the variations.
I must offer one criticism of interpretation though, which did effect the overall effect. And that is of the physical portrayal of Peter Quint. The manner of his lolling across the stage, with what seemed to be ape-like gestures, was distracting, and by doing so, he at times became almost comical rather than demonic. The libretto suggests he is 'tall, clean-shaven ... even handsome. But a horror!' Obviously who ever performs this role can't always be tall, or even handsome, but certainly can be clean-shaven , and above all can personify horror. But in his movements, at times this was a comic-book horror. I suspect this is a matter of direction and really suggest it needs reassessing it! Give him menace. Give him charisma. But don't change his wonderful voice! However, a small criticism to an engaging and truly great night at the opera. As my guest, who I introduced to the work, said, " Thank you for a cracking evening!"
