Benjamin Britten: Peter Grimes, Op. 33

Peter Grimes, opera, Op. 33
Composed by Benjamin Britten
Performed by Covent Garden Royal Opera House Chorus and Orchestra
with Gillian Webster, Sarah Walker, Christopher Keyte, John Winfield, Felicity Lott, Christopher Lackner, Sir Thomas [baritone] Allen, Jonathan Fisher, Jonathan Coad, Michael Skinner, David Wilson-Johnson, Karen Robertson, Stafford Dean, Donaldson Bell, Edward Parry, Richard Hazell, Simon Keenlyside, Tom Cregan, Maria Bovino, Robbie Gill, Lola Biagiioni, David Greenwood, Stuart Kale, Anthony Rolfe Johnson, Patricia Payne, Neil Jenkins
Conducted by David Syrus, Bernard Haitink

Benjamin Britten: Peter Grimes, Op. 33,Simon Keenlyside,David Wilson-Johnson,Benjamin Britten,Bernard Haitink,Michael Skinner,Sarah Walker,Royal Opera House Chorus and Orchestra Covent Garden,Anthony Rolfe Johnson,Christopher Keyte,Christopher Lackner,Donaldson Bell,Edward Parry,Felicity Lott,Gillian Webster,John Winfield,Jonathan Coad,Jonathan Fisher,Karen Robertson,Lola Biagiioni,Maria Bovino,Neil Jenkins,Patricia Payne,Richard Hazell,Robbie Gill,Sir Thomas Allen [baritone],Stafford Dean,Stuart Kale,Tom Cregan,Capitol,British 20th/21st Century Opera,Classical,Classical Composers,Classical Music,Opera,Opera / Operetta / Oratorio

Renée Fleming - Signatures ~ Great Opera Scenes / Sir Georg Solti

Average customer rating:

what a voice....
Amazing!!
Renee Fleming - Signatures-Great Oper Scenes
BEAUTIFUL CROSS SECTION OF STYLES
Renee Fleming's greatest recital ever!

Renée Fleming - Signatures ~ Great Opera Scenes / Sir Georg Solti
Wolfgang Amadeus Mozart , Pyotr Il'yich Tchaikovsky , Antonin Dvorak , Giuseppe Verdi , Benjamin Britten , Richard Strauss , London Symphony Orchestra , Sir Georg Solti , Renée Fleming , Larissa Diadkova , and Jonathan Summers
Manufacturer: Decca
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ASIN: B0000042HU
Release Date: 1997-09-09

Tracks:

Le nozze di Figaro: Porgi, Amor
Le nozze di Figaro: E Susanna Non Vien!...Dove Sono I Bei Momenti
Eugene Onegin: Nu, Zaboltalas Ya!...Puskai Pogibnu Ya (Letter Scene)
Rusalka: Mesicku Na Nebi Hlubokem (O Silver Moon)
Otello: Era Piu Calmo?...'Piangea Cantando Nell Erma Landa'... Ave Maria
Peter Grimes: Peter Seems To Have Disappeared...Embroidery In Childhood Was A Luxury Of Idleness
Daphne: Ich Komme - Ich Komme (Transformation Scene)

Amazon.com essential recording

As the possessor of one of the great lyric soprano voices of our time, soprano Renée Fleming is in demand in the world's great opera houses. (It doesn't hurt that she's also lovely and a fine actress.) This album is an outstanding collection of great arias, ravishingly sung. It shows something of Fleming's range, including as it does music by Mozart, Tchaikovsky, Dvorák (the sumptuous "Song to the Moon" from Rusalka, the best part of the entire opera, and sung here in definitive fashion), Verdi, Britten (an effective "Embroidery Scene" from Peter Grimes), and Richard Strauss. This disc is a good starting point for someone seeking to learn more about operatic singing, and a valuable addition to the library of anyone already converted. Fleming is given strong support by mezzo-soprano Larissa Diadkova, baritone Jonathan Summers, and by the late Sir Georg Solti in one of his last recordings. --Sarah Bryan Miller

Customer Reviews:

what a voice...........2006-09-14

I love this recital which is my first introduction to a solo album by Fleming.
Her voice , with its richness and dusky timbre and beautiful, strong higher notes is a treat to hear.
She did sound expressive too but has not yet touched a chord in me when it comes to emotion and feeling.
Call me a helpless Callas fan, but I couldn't help but wonder how La Divina would sound if she sang Russian and played Tatyana in the "Letter" scene; what a great vehicle for acting!
But it does take voices a while to grow on me and that might be it.
I do plan on buying more of her CDs.

Amazing!!.......2005-09-28

This may be one of my favorite albums of all time. Renee Fleming is of course amazing with Mozart...but there are other gems on this album. The scene from Otello is truly astounding!! My personal favorite on this album is the Embroidery Scene from Peter Grimes by Benjamin Britten...WOW!!! And of course we all know that the Song to the Moon from Dvorak's Rusalka is amazing. The Tchaikovsky is so wonderful!! The scene from R. Strauss's Daphne is awesome! Brava Renee!!!

Renee Fleming - Signatures-Great Oper Scenes.......2005-08-11

I gave this item as gift so I cannot review it.

BEAUTIFUL CROSS SECTION OF STYLES.......2004-11-22

I really loved this CD, mainly however due to "Mesicku Na Nebi Hlubokem" as it was the first version I had ever heard. Her phrasing, emotion, and tone were a perfect match for Dvorak's lone mermaid. I was also surprised to find Richard Strauss's Daphne here. It is not a common opera or aria so it was all I could do to listen to the beauty of the music that was not a real aria as it was vocal renderings controlled by the orchestra. It may not ever be common but it shows Richard Strauss in a more lyrical way verses his usual more heavy and harsh operas including "Salome" and "Elektra". Now if only we could get Fleming to record "Daphne" in it's entirety. Her other pieces were rich and warm as I have always adored her in the Countess road and she has always does Desdemona proud even if it is just a literary character. This CD is Renee Fleming at her best!

Renee Fleming's greatest recital ever!.......2004-04-16

What can I say that hasn't been said already? The great Solti (Who adored Fleming btw) and Renee Fleming made magic here. One of the greatest recitals in operatic history. Brava Renee!

Average customer rating:

I recommend it highly
Pour yourself some tea, get the paper and put on this CD

For A Sunday Morning
Various Artists
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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For a Lazy Afternoon (Dig)
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ASIN: B00005UWL1
Release Date: 2002-01-15

Tracks:

Grieg: Morning Mood
Dvorak: Waltz From Serenade For Strings
Faure: Pavane, Op. 50
Bach: Air
Holst: Finale (The Dargason) from St. Paul's Suite
Debussy: Prelude To "The Afternoon Of A Faun"
Faure: Sicilienne from Pelleas et Melisande
Bach: Sleepers, Awake
Debussy: En Bateau
Grieg: Anitra's Dance
Britten: Sunday Morning By The Beach
Williams: Seventeen Come Sunday From English Folk Song Suite
Strauss: Morning Newspapers

Customer Reviews:

I recommend it highly.......2005-10-05

I have yet to grow tired of this CD. I listen to it at work several times per week.

Pour yourself some tea, get the paper and put on this CD.......2002-02-14

This truly is a great album for a Sunday morning. I bought it after a recent morning I spent with my boyfriend; we made tea, ate breakfast, cuddled and napped, but I wanted some relaxing classical tunes to put on. I stumbled across this, and it certainly fits the bill.

I also liked that it had a good mix of familiar songs and ones I hadn't heard before. Selections include "Morning" and "Anitra's Dance" by Grieg, "Serenade for Strings in E Major" by Dvorak, "Sunday Morning" by Britten, "Pavane" by Faure, "Seventeen Come Sunday" by Vaughan Williams, "Air on a G String" by Bach, "Morgenblatter" by Strauss, "The Dargason" by Holst, "Prelude a l'Apres-Midi d'un Faune" by Debussy, and "En Bateau" and "Sicilienne" by Faure.

Tracks:

Peter Grimes: Prologue: 'Peter Grimes!' (Hobson)
Peter Grimes: Prologue: 'You Sailed Your Boat Round The Coast' (Swallow)
Peter Grimes: Prologue: 'Peter Grimes, I Here Advise You!' (Swallow)
Peter Grimes: Prologue: 'The Truth...The Pity...And The Truth' (Peter)
Peter Grimes: Prologue: Interlude I
Peter Grimes: Act I, Scene 1: 'Oh! Hang At Open Doors The Net, The Cork'
Peter Grimes: Act I, Scene 1: 'Hi! Give Us A Hand!' (Peter)
Peter Grimes: Act I, Scene 1: 'I Have To Go From Pub To Pub' (Hobson)
Peter Grimes: Act I, Scene 1: 'Let Her Among You Without Fault Cast The First Stone' (Ellen)
Peter Grimes: Act I, Scene 1: 'Look, The Storm Cone' (Balstrode)
Peter Grimes: Act I, Scene 1: 'And Do You Prefer The Strorm' (Balstrode)
Peter Grimes: Act I, Scene 1: 'What Harbour Shelters Peace' (Peter)
Peter Grimes: Act I, Scene 1: Interlude II
Peter Grimes: Act I, Scene 2: 'Past Time To Close!'
Peter Grimes: Act I, Scene 2: 'We Live And Let Live' (Balstrode)
Peter Grimes: Act I, Scene 2: 'Have You Heard? The Cliff Is Down'
Peter Grimes: Act I, Scene 2: 'Now The Great Bear And The Pleiades' (Peter)
Peter Grimes: Act I, Scene 2: 'Old Joe Has Gone Fishing'
Peter Grimes: Act I, Scene 2: 'The Bridge Is Down, We Half Swam Over' (Hobson)

Tracks:

Peter Grimes: Act II: Interlude III
Peter Grimes: Act II, Scene 1: 'Glitter Of Waves And Glitter Of Sunlight' (Ellen)
Peter Grimes: Act II, Scene 1: 'Let This Be A Holiday' (Ellen)
Peter Grimes: Act II, Scene 1: 'The Unrelenting Work' (Ellen)
Peter Grimes: Act II, Scene 1: 'Fool To Let It Come To This!'
Peter Grimes: Act II, Scene 1: ' What Is It?'
Peter Grimes: Act II, Scene 1: 'People!... No! I Will Speak!'
Peter Grimes: Act II, Scene 1: 'We Planned That Their Lives Should Have A New Start' (Ellen)
Peter Grimes: Act II, Scene 1: 'Swallow! Shall We Go And See Grimes In His Hut?
Peter Grimes: Act II, Scene 1: 'Now Is Gossip Put On Trial' (Swallow)
Peter Grimes: Act II, Scene 1: 'From The Gutter, Why Should We Trouble At Their Ribaldries?
Peter Grimes: Act II: Interlude IV (Passacaglia)
Peter Grimes: Act II, Scene 2: 'Go There!' (Peter)
Peter Grimes: Act II, Scene 2: 'Now!...Now!...' (Swallow)
Peter Grimes: Act II, Scene 2: 'Peter Grimes! Nobody Here?'

Tracks:

Peter Grimes: Act III: Interlude V
Peter Grimes: Act III, Scene 1: 'Assign Your Prettiness To Me' (Swallow)
Peter Grimes: Act III, Scene 1: Pah! Ahoy!' (Swallow)
Peter Grimes: Act III, Scene 1: 'Come Along, Doctor!'
Peter Grimes: Act III, Scene 1: 'Embroidery In Childhood Was A Luxury Of Idleness' (Ellen)
Peter Grimes: Act III, Scene 1: 'Mister Swallow! Mister Swallow!'
Peter Grimes: Act III, Scene 1: 'Who Hold Himself Apart, Lets His Pride Rise'
Peter Grimes: Act III: Interlude VI
Peter Grimes: Act III, Scene 2: 'Grimes! Grimes!'
Peter Grimes: Act III, Scene 2: 'Peter, We've Come To Take You Home' (Ellen)
Peter Grimes: Act III, Scene 2: To Those Who Pass The Borough'

Amazon.com essential recording

Benjamin Britten's Peter Grimes not only single-handedly revitalized the genre of English opera, but was also the most profoundly original and dramatically groundbreaking opera in this century and possibly the most significant English dramatic musical work ever written. Its subject, a misfit fisherman whose confrontation with society and its unforgiving rules leads to his ultimate destruction, was a vehicle for more important subthemes, not least of which was Britten's ongoing near-obsession with the nature of innocence and its corruption. The phenomenal impact of Grimes on audiences and performers assured Britten's place as the century's preeminent opera composer, and launched him on the path to creating many more successful stage works. This production, with Peter Pears in the role of Grimes and Britten conducting, remains the definitive recording, with an excellent performance by Pears, for whom the role was created, and fine sound. --David Vernier

Customer Reviews:

STILL A CLASSIC AFTER 50 YEARS.......2006-07-18

There have been many productions of Grimes around the world and a good few recordings made since this first one was committed to disc nearly half a century ago. From our perspective in the 21st Century it is hard to recall the huge impact made by the first production at Sadlers' Wells in 1946 and by this recording just a decade or so later. It's now easier to see the antecedents and ancestors of the piece - Verdi, Mahler, even Mozart. At the time it seemed a really revolutionary piece, not only for British but also for worldwide opera.

The recording, too, was something new. This was the first time that John Culshaw and his Decca team had fully implemented their ideas for making a real production out of a stereo opera recording. The original booklet proudly showed the grid laid out on the floor that allowed singers to move about the imaginary set as they would in a real theatrical production. And the recorded sound was absolutely state-of-the-art for its time, then still in the early days of stereo. These digital transfers still shine almost as brightly as any of the more modern recordings.

The performance itself has rightly become a classic. The composer conducting his own work, of course, has a special authenticity. And more. Britten, unlike many conducting composers, was a highly professional, totally convincing and usually revelatory conductor - of other composers' works as well as his own. So it is here. Working with an opera house chorus and orchestra (Covent Garden), there is still something of the 'shock of the new' about this performance. The drama of the interludes - particularly the Passacaglia and the one before the final scene which is not included in the concert set - has enormous impact and, in these two cases, is probably more moving than any. The reprise of the Dawn Interlude at the end of the opera as the villagers return to their work as though nothing has happened, closing over the incident as disinterestedly as the sea closes over Grimes himself, carries true tragic weight. And, with its pp ending, seems to look forward to another seascape at the end of Britten's final opera, Death in Venice.

Grimes was, of course, the first of Britten's great operatic gifts to his lover and muse, Peter Pears. The role is written for that specific voice and it sits inimitably within its range and capabilities. Whether it's the dreamy head-tones of the 'Great Bear and Pleiades', the motivically vital and dramatic plunge of 'God have mercy upon you', the great yearning leap of a ninth on 'What harbour shelters peace' or the highs and lows of the mad scene (melodic and emotional), the phrases sit perfectly and naturally in the voice. Pears sings the role as no other tenor could and it remains the yardstick for all future performances. If I have a hesitation, it is over the characterisation of Grimes. Pears just seems a little urbane and sophisticated for this uncouth, unsophisticated, violent outsider (albeit one with dreams). Vickers sits at the opposite pole in a performance Britten was said to have hated: he is a raw brute of a man, aurally on disc as much as physically in the theatre. It is a great performance, too - proof that the role is more than big enough to take radically different interpretations. If you want another great reading that sits somewhere between the two, then Langridge on the Hickox discs is probably your man.

As for the rest, this recording was made before all parts in Britten recordings were reserved for the Aldeburgh coterie. Ellen and Balstrode are both taken from Decca's roster of American singers. Both are more than adequate, but probably bettered elsewhere - Heather Harper is arguably the finest Ellen on disc; sadly the best Balstrode in my experience, Norman Bailey, should have been on the first Davis recording but was indisposed at the time. Owen Brannigan (who was a member of the coterie) is probably the finest Swallow on disc. For the rest of the wonderful gallery of Borough villagers, it's a matter of swings and roundabouts between the various recordings.

Nevertheless, this remains a classic recording. The touchstone for your choice of recording is probably the singer playing the title role where the choice lies between Pears, Vickers and Langridge. But then again, Haitink on EMI also provides a highly memorable performance, more international and mainstream in outlook, despite a slightly weaker Grimes in Rolfe-Johnson. Ah, decisions, decisions!

Unmatchable performance of a masterpiece.......2003-04-14

This, the first and in my view the best complete recording of Peter Grimes, is unforgettable for a number of reasons, but two in particular. First is that Britten corrects here a number of scoring errors that appeared in the early Boosey & Hawkes edition of his opera (and, sad to say, the one that Jon Vickers insisted on using into the 1980s), and some of these orchestral changes have a marked effect on the music, making it more colorful and interesting. Second is the fact that it is conducted by Britten himself. Other reviewers have pointed out the value of having the composer conduct his own work, and of course that is important; but the other factor to consider is that Britten, though a part-time and often reluctant conductor, was one of the great masters of the baton. The BBC recently issued a series of CDs taken from live broadcasts of the '60s, including marvelous versions of Bridge's "The Sea," Handel's "Ode to St. Cecilia" and the Mahler 4th Symphony, which when heard alongside his commercial recording of the Bach Brandenburg Concertos (still a best-seller and one of the preferred versions after 40 years), testify that this was a conductor who could stand comparison with Walter, Toscanini, Szell and other acknowledged masters. The only known video of Britten in rehearsal (of his own "Nocturne") reveals why: like them he was a nit-picker for detail, accent and phrasing, and if he was not as outwardly temperamental as Toscanini he was just as grueling in working sections or individual players until they got it the way he wanted it.

As for the cast on this recording, they are quite fine, even if Peter Pears' voice was more solid and more beautiful on the 1946 excerpts conducted by Reginald Goodall (EMI). At the time this recording was issued, several critics jumped on Claire Watson, knowing that she was a last-minute substitute for Britten's preferred Ellen of the time, Heather Harper (who sings so beautifully opposite Vickers); but with digital remastering, Watson's voice sounds far less shrill here than it did on LP, and she has the advantage of really clear and distinct English diction....something that cannot be taken for granted even in English-speaking singers (just think of Leontyne Price or Frederica von Stade). As a result of this (mostly) hand-picked cast and Britten's perfectionism, you get a performance that sounds both "live" in the theatrical sense and beautiful in the superb balance of soloists, chorus and orchestra. In short, this is not a performance to be missed, and I highly recommend it to all opera-lovers but especially those who enjoy Grimes.

Britten and Pears - unmissable!.......2003-03-09

As a musician myself I feel that sometimes I overly criticise performances and recordings, perhaps digging a little too deep to try and find hidden weaknesses which detract from its overall success. With this recording of Peter Grimes I have to hold my hand up and once again shout from the dock "GUILTY!!!!". I picked away and very much enjoyed doing it. And after all this I can happily say that this recording of Peter Grimes is THE definitive recording. If you are looking for better then all I can say is give up, you will not find one.
The music of Benjamin Britten combined with the wonderful tenor voice of Peter Pears has always been a celebrated partnership. This performance of PG I feel has now cemented this fact for all time. Pears sings with a passion one can only achieve from knowing that the part was written for you. His sincere and expressive portrayal of Grimes together with his flawless technical accuracy and rich full tone make his performance a credit to British music making - truly breathtaking. Claire Watson too provides a quite brilliant performance as Ellen. This list could go on throughout the entire cast even crediting Marcus Norman for his part as John, Grimes' apprentice, no matter how silent he is! And how can we forget the Orchestra of the Royal Opera House, Covent Garden? They were one of this country's best instruments at the time, just as they are today. Their red blooded, exciting playing, coupled with sensitivity where required, is ideally suited. It ensures that this is the definitive recording of Peter Grimes.

Definitive Grimes.......2002-07-19

Peter Pears had a voice that you either loved or hated, but all of the major Britten tenor roles were written for him, and to my mind, that makes him the definitive Grimes. Pears only other real competition is Jon Vickers on the Phillips twofer. Both are masterful interpretations, but where Vickers makes his Grimes completely unhinged, Pears brings out more of the humanity in the role than any other performance that I've heard. Pears Grimes is odd, and a definate outsider, but he doesn't become totally nuts till the end of the work. As a result, there is more depth in the portrait than in the Vickers version, marvelous though that is as well.

Britten is a supreme interpreter of his own work, something that few other composers have been able to do well. (Only Stravinsky and Boulez come to mind as comparable.) And the work itself is a milestone in contemporary opera. If you are new to this opera, this CD is a good place to start, though I do also highly recommend the Vickers twofer on Phillips with Colin Davis conducting.

an essential first recording of a Britten masterpiece.......2001-05-23

This is probably the greatest British opera of the 20th century, and this recording features a majority of the artists for whom Britten wrote the opera, most notably his partner Peter Pears who originated the title role. Pears singing is an aquired taste--the voice can be reedy and even strident at times. But the commitment and passion of his performance are undeniable, and coupled with Watson's heartfelt Ellen Orford, it is hard to beat. The orchestral playing is sometimes spotty (it was said that Britten was not a particularly "clean" conductor), but the sound captured on this CD is infinitely better than the LP. You can hear the players breathing, even the occasional footfall as a performer steps up to the mic. There is a real theatricality to the performance that gathers momentum and excitement as the opera progresses. The now-famous "Sea-Interludes" that separate some of the scenes have received better recordings elsewhere, but it is exciting to hear them in context. A different kind of theatrical brilliance (and a better sung version of the title role) can be found on the other major recording of this work, which features Jon Vickers--the other great proponent of this amazing role. An absorbing, listenable and moving opera.

Average customer rating:

From the review in Gramophone

Benjamin Britten: Peter Grimes, Op. 33

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music
ASIN: B00000E4UM
Release Date: 1991-08-09

Customer Reviews:

From the review in Gramophone.......2007-03-14

"The transfer to CD of the Philips recording of Peter Grimes restores to the catalogue one of the most exciting and riveting operatic performances on disc, that of Jon Vickers as Grimes. Heard again after an interval, it seems better than ever, the occasionally rasping tone suggesting the man's violent and repressed nature far more truthfully than Sir Peter Pears's more restrained and gentlemanly performance on Britten's own classic Decca recording. The scorn in Vickers's voice in the Prologue when he sings 'Somebody brought the parson' sets the tone for this vivid characterization. Yet he also conveys the visionary side of the sadistic fisherman, with a ravishingly beautiful account of the 'Great Bear and Pleiades' aria in the pub scene.

"But it is not all Vickers. There is also Heather Harper's perceptive and sympathetic vocal portrayal of Ellen Orford, more matronly than Claire Watson on the Decca set and also more dramatic in the Sunday Morning scene when she discovers the apprentice's bruises. Watson's softer conception of the role is, of course, superb in the context of Britten's interpretation, which is generally more romantic than Sir Colin Davis's. From Davis we get a tenser, more neurotic approach to the music, with the Interludes superbly played by the Royal Opera House orchestra.

"There is little to choose between the performances of the smaller roles. Both Davis and Britten draw sharply etched vignettes from their singers, with Jonathan Summers a splendidly bluff Balstrode on the Philips set. The chorus is in fine voice on both sets. Decca gave Britten a very full and detailed recording; the Philips set is more atmospheric, but some may find the off-stage church service in Act 2 a fraction too distant.

"A choice between these two classic recordings must depend on whether one prefers Britten-Pears to Davis-Vickers. I think there is no choice--have both, for both have outstanding merits."

Average customer rating:

Grimes as song not drama
A Shattering Performance

Benjamin Britten: Peter Grimes

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000000AYW
Release Date: 1996-04-23

Tracks:

Peter Grimes: Prologue (Hobson, Peter Grimes)
Peter Grimes: 'You Sailed Your Boat Round The Coast' (Swallow)
Peter Grimes: 'Peter Grimes, I Here Advise You' (Swallow)
Peter Grimes: 'The Truth - The Pity - And The Truth' (Peter)
Peter Grimes: Interlude I
Peter Grimes: Act I - Scene 1 - 'Oh, Hang At Open Doors' (Chorus)
Peter Grimes: Act I - Scene 1 - 'Good Morning, Good Morning!' (Rector)
Peter Grimes: Act I - Scene 1 - 'Hi! Give Us A Hand' (Peter)
Peter Grimes: Act I - Scene 1 - 'I Have To Go From Pub To Pub' (Hobson)
Peter Grimes: Act I - Scene 1 - 'Let Her Among You Without Fault' (Ellen)
Peter Grimes: Act I - Scene 1 - 'Look! The Storm Cone!' (Balstrode)
Peter Grimes: Act I - Scene 1 - 'And Do You Prefer The Storm' (Balstrode)
Peter Grimes: Act I - Scene 1 - 'They Listen To Money' (Peter)
Peter Grimes: Act I - Scene 1 - 'What Harbour Shelters Peace' (Peter)
Peter Grimes: Interlude II
Peter Grimes: Act 1 - Scene 2 - 'Past Time To Close' (Auntie)
Peter Grimes: Act 1 - Scene 2 - 'Loud Man' (Auntie)
Peter Grimes: Act 1 - Scene 2 - 'There's Been A Landslide Up The Coast' (Fisherman)
Peter Grimes: Act 1 - Scene 2 - 'No, I Mean Love' (Boles)
Peter Grimes: Act 1 - Scene 2 - 'Pub Conversation Should Depend' (Balstrode)
Peter Grimes: Act 1 - Scene 2 - 'Have You Heard The Cliff Is Down' (Ned)
Peter Grimes: Act 1 - Scene 2 - 'Now The Great Bear And Pleiades' (Peter)
Peter Grimes: Act 1 - Scene 2 - 'For Peace Sake' (Balstrode)
Peter Grimes: Act 1 - Scene 2 - 'The Bridge Is Down' (Hobson)
Peter Grimes: Act II - Interlude III
Peter Grimes: Act II - Scene 1 - 'Glitter Of Waves' (Ellen)
Peter Grimes: Act II - Scene 1 - 'Now That The Daylight Fills The Sky' (Chorus)
Peter Grimes: Act II - Scene 1 - 'Child You're Not Too Young' (Ellen)
Peter Grimes: Act II - Scene 1 - 'This Unrelenting Work' (Ellen)
Peter Grimes: Act II - Scene 1 - 'Fool To Let It Come To This' (Auntie)
Peter Grimes: Act II - Scene 1 - 'People... No! I Will Speak!' (Boles)

Tracks:

Peter Grimes: Act II - Scene 1 - 'We Planned That Their Lives' (Ellen)
Peter Grimes: Act II - Scene 1 - 'Shall We Go And See Grimes In His Hut?' (Rector, Swallow)
Peter Grimes: Act II - Scene 1 - 'Now Is Gossip Put On Trial' (Chorus)
Peter Grimes: Act II - Scene 1 - 'From The Gutter' (Nieces)
Peter Grimes: Interlude IV
Peter Grimes: Act II - Scene 2 - 'Go There! (Peter)
Peter Grimes: Act II - Scene 2 - 'They Listen To Money' (Peter)
Peter Grimes: Act II - Scene 2 - 'Now! Now!' (Chorus)
Peter Grimes: Act II - Scene 2 - 'Peter Grimes' (Rector)
Peter Grimes: Interlude V
Peter Grimes: Act III - Scene 1 - 'Assign Your Prettiness To Me' (Swallow)
Peter Grimes: Act III - Scene 1 - 'Mr. Keene' (Mrs. Sedley)
Peter Grimes: Act III - Scene 1 - 'Murder Most Foul It Is' (Mrs. Sedley)
Peter Grimes: Act III - Scene 1 - 'Come Along, Doctor' (Burgess)
Peter Grimes: Act III - Scene 1 - 'Embroidery In Childhood Was' (Ellen)
Peter Grimes: Act III - Scene 1 - 'Mr. Swallow' (Mrs. Sedley)
Peter Grimes: Act III - Scene 1 - 'Who Holds Himself Apart' (Chorus)
Peter Grimes: Interlude VI
Peter Grimes: Act III - Scene 2 - 'Grimes!' (Voices)
Peter Grimes: Act III - Scene 2 - 'Peter, We've Come To Take You Home' (Ellen)
Peter Grimes: Act III - Scene 2 - 'To Those Who Pass The Borough' (Chorus)

Customer Reviews:

Grimes as song not drama.......2006-08-06

At first it seems inappropriate to title a review of Hickox's Grimes as "song not drama," because he is so expressly dramatic at many points in the opera. You can't find a storm interlude more ferocious -- almost terrifying -- and there are other meaningful gestures here and there. However, there are two things Hickox does consistently that work against the drama of the story and of Britten's writing: (1) he makes all musical gestures crystal clear, and (2) he gets his singers to sing almost all lines with smooth lyricism. Now, I am normally in favor of conductors that bring out the elements of compositions (I generally like what Hickox does with the War Requiem, though the sound isn't great, and I'm crazy over his DVD conducting of Turn of the Screw); and, as Hickox proves, much of Grimes is extremely lyrical, even gorgeous. But these two practices make much of the action sound extremely stilted, sometimes ludicrous. One could blame Britten himself for some of those moments, but then one could listen to Britten's own recording and hear them worked into a dynamic, realistic whole. (Admittedly, some of Ellen's music is just too precious.) Examples are too plentiful to mention, but I will note one of the more subtle cases: Grimes's "In dreams I've built myself..." Hickox and Langridge take pains to bring out the emotion of what he's singing -- by highlighting everything. For me at least, at no time am I drawn into Peter's state, perhaps because it's a dissertation not an experience. On top of the Hickox problems (and despite the lyricism he demands), the singing itself is inferior to Britten's recording, and probably to Davis's (it has been a while since I heard it); Watson's voice some across shallow, and Langridge is often reedy and unpleasant (and his lower register is not at all musical). Williams does make some nice points with Ned Keene, Opie does some nice acting as Balstrode, and Collins sounds good. All in all, I doubt I will get rid of this recording when I get another Grimes -- there is much that is rewarding to listen to. But I found it a disappointment.

A Shattering Performance.......2005-03-16

Peter Grimes is one of the most engaging operas written. It is riveting to see it staged and equally attention holding just to hear a performance. Peter Grimes is a highly dramatic story of someone slowly sinking into misfortune, shunned by the community and misunderstood. The drama of the opera is reflected in the splendid music that Benjamin Britten wrote defining the mood of his story. The many interludes that come between scenes have achieved their own fame in Britten's Four Sea Interludes from Peter Grimes. When heard in the context of the opera the show their true significance setting up the story that is unfolding.

This recording has been considered among the very best performances of Peter Grimes. Philip Langridge is superb as Grimes, conveying the frustration of an outcast and the menace of his character. This is especially true in Act 2 Scene 2 where Grimes imagines a kind of paradise with his new apprentice that disintegrates into a vision of Hell when he hears the villagers approaching his hut, and in the final scene he is excellent in expressing Grimes' collapse. Mr. Langridge is well supported by Janice Watson as Ellen Orford, Alan Opie as Captain Balstrode and Roderick Williams as Ned Keene, to name just a few. But it is Richard Hickox and the City of London Sinfonia who deserve the credit for creating a performance that is second to none. The playing by the orchestra is beautifully interwoven with the voices and the balance of the recording is outstanding. The London Symphony Chorus, who has a major role in the opera, are magnificent.

There are many great recordings of Peter Grimes, among them that of Benjamin Britten himself. It is a difficult decision to choose just one Peter Grimes but one can rest assured that the Hickox performance is certainly among the very best. Highly recommended.

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For a Day in Your Life

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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For Book Lovers Only
For the Holidays (Dig)

ASIN: B00006LWRX
Release Date: 2002-10-15

Tracks:

Morning Mood - San Francisco Symphony Orchestra
Waltz - Sir Neville Marriner
Pavane, Op.50 - Chorus Of The Academy Of St Martin-In-The-Fields
Air - Thurston Dart
Finale (The Dargason) - Christopher Hogwood
Prelude - Detroit Symphony Orchestra
Sicilienne - Sir Neville Marriner
Sleepers, Awake - The New Symphony Orchestra Of London
En Bateau - Ernest Ansermet
Anitra's Dance - San Francisco Symphony Orchestra
Sunday Morning By The Beach - Sir Colin Davis
March: Seventeen Come Sunday - Sir Neville Marriner
Morning Newspapers, Op.279 - Vienna Philharmonic

Tracks:

Canon In D - Stuttgart Chamber Orchestra
Largo - Regis Pasquier
Adagio/Allegro/Adagio - Orpheus Chamber Orchestra
Jesu, Joy Of Man's Desiring - Julian Lloyd Webber
Badinerie - Jean-Pierre Rampal
Air - Sir Neville Marriner
Rondeau - John Eliot Gardiner
Largo - Celin Romero
Adagio - Heinz Holliger
Adagio - Alfred Prinz
Cantabile - Aurele Nicolet
Menuetto - Sir Neville Marriner
Prelude - Mischa Maisky
Andane Sostenuto - Arthur Grumiaux
Menuetto (2nd) - Orpheus Chamber Orchestra
The Arrival Of The Queen Of Sheba - Paul McCreesh

Tracks:

Rondo - Sir Neville Marriner
Gavotte En Rondeau - Goran Sollscher
Allegro Assai - Andre Bernard
Scherzo (Allegro Vivace) - James Levine
Allegro Con Spirito - Narciso Yepes
Waltz - Sir Neville Marriner
Air (Andante Religioso) - Stephen Shingles
Dance Of The Blessed Spirits - Orpheus Chamber Orchestra
Pieds-En-L'air - Nicholas Kraemer
Nessun Dorma - Barry Wordsworth
Entr'acte - Orpheus Chamber Orchestra
Allegro Vivace - Lorin Maazel

Tracks:

Variation 18 - Jean-Yves Thibaudet
Traumerei - Mischa Maisky
Adagio Non Troppo - Irena Grafenauer
Gavotte - Mischa Maisky
Romanza (Andante) - Peter Damm
Dome Epais Le Jasmin (Flower Duet) - Joan Sutherland
Moment Musical No.3 In F Minor, D 780 Op.94 - London Symphony Orchestra
Andante - Vienna Philharmonic
Menuet - The English Concert
Violin Romance No.2 In F, Op.50 - David Oistrakh
Adagio - Narciso Yepes
La Calinda - Sir Neville Marriner
Love Theme - Vienna Philharmonic

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Some truly outstanding performances
Do-Re-Me-WOW!

Masters of the Voice: Tenor

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Masters of the Voice: Soprano
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Masters of the Bow: Cello
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Masters of the Trumpet

ASIN: B0001XANOO
Release Date: 2004-04-13

Tracks:

La Donna E Mobile - Luciano Pavarotti
Una Furtiva Lagrima - Placido Domingo
Nein, Langer Trag' Ich Nicht Die Qualen...Durch Die Walder - Peter Schreier
Non Mi Lasciar...Corriam! Voliam!...O Muto Asil - Luciano Pavarotti
Ach, So Fromm - Placido Domingo
Ah! Mes Amis, QUel Jour De Fete! - Luciano Pavarotti
Le Camarade Est Amoureux! - Luciano Pavarotti
Gott! Welch! Dunkel Hier! - James McCracken
In Des Lebens Fruhlingstagen - James McCracken
Il Mio Tesoro - Gosta Winbergh
Dies Bildnis Ist Bezaubernd Schon - Fritz Wunderlich
Ombra Mai Fu - Jose Carreras
Che Faro Senza Euridice? - Andreas Scholl
Vi Ricorda, O Boschi Ombrosi - Anthony Rolfe-Johnson
Comfort Ye, My People - Stuart Burrows
Ev'ry Valley Shall Be Exalted - Stuart Burrows
Puisqu'on Ne Peut Flechir Ces Jalouses Gardiennes - Vainement Ma Bien Aimee - Alfredo Kraus
Nessun Dorma - Luciano Pavarotti

Tracks:

Se Quel Guerrier Io Fossi!...Celeste Aida - Placido Domingo
Che Gelida Manina - Jerry Hadley
Vois Ma Misere, Helas! - Placido Domingo
Rachel, Quand Du Seigneur - Leopold Simoneau
Vesti La Giubba - Mario Del Monaco
Ingemisco - Jussi Bjorling
Come Un Bel Di Di Maggio - Carlo Bergonzi
Ye People, Rend Your Hearts...If With All Your Hearts - Anthony Rolfe-Johnson
Wintersturme Wichen Dem Wonnemond - Jon Vickers
Morgenlich Leuchtend In Rosigem Schein (Prize Song)
Pourquoi Me Reveiller? - Jose Carreras
E Lucevan Le Stelle - Placido Domingo
Viva Il Vino Spumeggiante (Brindisi) - Carlo Bergonzi
E La Solita Storia Del Pastore (Lamento Di Federico) - Jose Carreras
O Vaterland...Da Geh' Ich Zu Maxim - Rene Kollo
Di Rigori Armato Il Seno - Luciano Pavarotti
Now The Great Bear And Pleiades - Peter Pears
Here I Stand - Ian Bostridge
Maria - Jose Carreras

Customer Reviews:

Some truly outstanding performances.......2004-07-11

This two CD set from Deutsche Grammophon does as it states: it offers some of the greatest tenors of our time in some truly outstanding performances. Thirty-seven arias all told, take a little getting used to as most "all tenor" recordings do. But overall it's a worthy and worthwhile effort. As those who read these reviews know I have a clear preference for CDs that have and maintain a theme throughout, so when I sit down to listen I don't have to keep the clicker nearby. Here, because the CD's represent a collection of favorites, the emphasis also has to be on consistency of musical reproduction, and with the exception of one or two songs, the consistency in the latter regard is good throughout. So, on these two criteria: theme and sound quality, "Masters" gets high grades. As far as selection goes, I might have suggested a change or two, but only one or two. The tenor voice can grate and on occasion it does just that. Still, there are more standouts than drawbacks: Pavarotti's "Le camarade est amoureux" from Donizetti's "La fille du regiment", for its rich, rousing chorus and full orchestration; Jose Carreras "Ombra mai fu" from Handel's "Serse" for its soulful melody - and there are many more. I had to listen to this CD three or four times before writing this review because I didn't want to miss what was occurring here, and I'm glad I did. It grows on you and stands as a truly remarkable assemblage of some powerful, moving music. These are the strengths of this set and why I would recommend it. There are some curiously abrupt endings (4 fade-outs) on side two - maybe the producers were counting minutes and realized that some songs just had to be cut - bad idea. These are noticeable and annoying, as in Juse Bjorling's "Ingemisco" in Verdi's "Requiem" and Carlo Bergonzi's "Come un bel di di maggio" from Giordano's "Andrea Chenier" and at least two more. Where did the endings go? Lastly, a personal recommendation on when best to listen to this set: no kids, no phone calls, no group discussions. I took it in the car for a few rides and then after I got used to it moved indoors -- and now listen to it when I am sitting and relaxing. I recommend it. (PJW)

Do-Re-Me-WOW!.......2004-05-15

This is a fantastic new collection of different classical music styles, languages, and singers. The production quality is excellent. If you are interested in singing or love opera then you would probably enjoy this CD. You may find some excellent singers you haven't been exposed to. I can't wait until they release Bass, Alto & Soprano.

Average customer rating:

A fine orchestral approach

Benjamin Britten: Peter Grimes, Op. 33

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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ASIN: B000007O0Y
Release Date: 1993-08-17

Tracks:

Peter Grimes!
You Sailed Your Boat Round The Coast
Peter Grimes, I Here Advise You!
The Truth - The Pity
Interlude I: Dawn
Oh Hang At Open Doors The Net
Hi! Give Us A Hand!
I Have To Go From Pub To Pub
Let Her Among You Without Fault Cast The First Stone
Look! The Storm Cone!
And Do You Prefer The Storm
They Listen To Money
What Harbour Shelters Peace
Interlude II: Storm
Past Time To Close!
Come On, Boy!
Have You Heard The Cliff Is Down
Now The Great Bear And Pleiades
Old Joe Has Gone Fishing
The Bridge Is Down
Interlude III: Sunday Morning
Glitter Of Waves And Glitter Of Sunlight
Child You're Not Too Young To Know
This Unrelenting Work

Tracks:

Fool Let It Come To This!
People-... No! Will Speak!
We Planned That Their Lives Should Have A New Start
Now Is Gossip Put On Trial
From The Gutter
Interlude IV: Passacaglia
Go There!
In Dreams I've Built Myself Some Kindlier Home
Now!... Now!
Peter Grimes! Nobody Here?
Interlude V: Moonlight
Assign Your Prettiness To Me
Mister Keene!
Come Along, Doctor
Embroidery In Childhood Is A Luxury Of Idleness
Mr Swallow, Mr Swallow
Who Holds Himself Apart Lets His Pride Rise
Interlude VI
Grimes!
Peter We've Come To Take You Home
To Those Who Pass The Borough

Customer Reviews:

A fine orchestral approach.......2006-06-28

Bernard Haitink brings an orchestral concept to this recording of Peter Grimes. There are some details in the brass and reeds that catch my ear, for instance the overlapping horn dissonances in the opening of Act II. The conductor uses the chorus as one large vocal intstrument but sadly loses the clarity of the lyrics.

Anthony Rolfe Johnson handles the title role well and is able to evoke some sympathy toward the hard-driven outcast. His sinuous vocal descent on the word "Go" is masterful (Act II, Scene 2).

Thomas Allen is well-suited for Balstrode, but Felicity Lott is not to my liking as Ellen Orford. Her art song delivery seems a little highbrow for this village school mistress. Having said that, her scene in Act II with Auntie and the two nieces is lovely. The four women blend like a string quartet, again perhaps owing to Haitink's direction.

There are some surprising gems in the supporting characters. For instance, Sarah Walker elevates Mrs Sedley from an opium-deprived alarmist to an impassioned advocate for the misused apprentice.

Peter Grimes has long been a favorite of mine and I feel we are fortunate to have a wealth of complete recordings to chose from.

Average customer rating:

Centenary Collection

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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ASIN: B0000241DS
Release Date: 2000-10-10

Tracks:

Sun Dance ('Wand Of Youth' Ste No.1, Op.1a No.4) - RPO/Lawrance Collingwood
Marigold - Richard Rodney Bennett
Saint Nicolas: 2. The Birth Of Nicolas - Robert Tear/Bruce Russell/Andrew Davis/Ian Hare
Str Qt 'In Gloucestershire' (No.3): II. Fairly Quick, But Always Rhythmical - Britten Qt
Sym No.1 in A flat, Op.55: IV. Allegro Molto (Exc) - LPO/Sir Adrian Boult
Troilus And Cressida, Act II: From Isle to Isle Chill Waters (Exc) - Dame Elisabeth Schwarzkopf/Richard Lewis
Dance Scenes: IV. Molto Allegro (Conclusion) - Philharmonia Orch/Daniel Harding
Ave Maria Op.2 No.2 - Harry Bramma/Chr of Worcester Cathedral/Christopher Robinson
The Triumph Of Neptune (Ste): 7.Hornpipe - RLPO/Barry Wordsworth
Dies Natalis: 2. Rhapsody (Opening) - Wilfred Brown
Sym No.5 In D: III. Romanza (Excerpt) - Philharmonia Orch/Sir John Barbirolli
Blest Pair Of Sirens (Opening) - London Phil Chr
Checkmate (Ballet Ste): V. Ceremony Of The Red Bishops - Sinf Of London/Sir Arthur Bliss
Peter Grimes: Act II, Scene 2: In Dreams I've Built Myself Some Kindlier Home (Opening) - Sir Peter Pears
Vn Con: II. Slower (Exc) - Yehudi Menuhin
The Planets: 4. Jupiter (Exc) - Toronto SO/Andrew Davis
Loch Lomond - Ian Partridge
Canadian Carnival (Exc) - CBSO/Sir Simon Rattle
At The Boar's Head: We Two Saw You Four... (Opening) - Philip Langridge/Michael George/John Tomlinson
Divertimento On 'Sellinger's Round:' III. Presto - ASMF/Sir Neville Marriner
Greater Love Hath No Man (Conclusion) - Chr Of King's College, Cambridge/Stephen Cleobury
English Dance No.5, Op.33 No.1 - Philharmonia Orch/Robert Irving
On Wenlock Edge: 2. From Far, From Eve And Morning - Ian Partridge
Sinfonietta: I. Allegro Con Brio (Exc) - Northern Sinf Of England/Richard Hickox
Mater Ora Fillum (Opening) - Chr Of King's College, Cambridge/Stephen Cleobury
Violin Son: II. Vars (Var.6: Scherzando) - Yehudi Menuhin/Louis Kentner
Vc Con in D: II. Andante Espressivo (Opening) - Julian Lloyd Webber
Three Screaming Popes (Conclusion) - CBSO/Sir Simon Rattle
Con, Op.104: III. Allegro (Exc) - Phyllis Sellick/Cyril Smith
The Young Person's Guide To The Orch Op.34: Fugue (Allegro Molto) - CBSO/Sir Simon Rattle
Str Qt in e, Op.83: II. Piacevole (Conclusion) - Chilingirian Str Qt
The Lady's Birthday - Jennifer Partridge/Baccholian Singers Of London
Crown Imperial (Conclusion) - LPO/Sir Adrian Boult

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