Ian Bostridge, Joan Rodgers - Britten: The Turn of the Screw (complete opera) ~ Harding

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Music reviews of Britten: The Turn of the Screw (complete opera) ~ Harding

Music Review: Fine recording of a haunting opera
Rating: 4 Stars

Like the case for the drama, there can be different interpretations for some of the roles, as shown in this new recording of the complete opera by Virgin Classics. Joan Rodgers, in the central role of the Governess, gives a splendid performance. Her voice, young sounding and radiantly lyrical, is perfect for the part. Some may find this Governess not sufficiently desperate when confronted by the worsening scenario. Yet, I believe Rodgers has here chosen an alternative approach that highlights the steely will power of the character. Indeed, one can gradually sense the Governess's increasing determination, and perhaps even obsession, in protecting the children, Miles in particular, which somehow renders her no less a predator vis-a-vis the children than Quint, and therefore equally responsible for the final tragedy. Indeed, when she and Quint sing the same musical lines (but to slightly different texts) immediately after the collapse of Miles, one realises with a shudder that perhaps the Governess and Quint are actually spiritual siblings and, instead of being deadly opponents, are merely the two sides of the same coin, as has been hinted at by Britten's remarkable music for these two pivotal roles.

Quint is here sung by Ian Bostridge, who delivers an object lesson in operatic pronunciation. His is extremely vivid in the Prologue, making every word tell and thereby very successfully sets the stage for the enigma that is to unfold. In the opera proper, this fine tenor, who has garnered so much praise for his lieder singing, infuses every note with meaning, from which one can get more than a glimpse of the sinister nature of the dark character that he is portraying. Quint's eerie melismas at his first vocal entrance are incanted with great musical precision. That said, I found this passage to be not as rhythmically pliant or seductive as it should be, in particular as these vocal melismas are usually regarded as the personification of sweet corruption. Vivian Tierney is a gleaming and vocally rock solid Miss Jessell, who succeeds in conveying much of the character's frustration, even though a more melancholic or mournful delivery of some of her laments may have suited the role even more.

Jane Henschel is a formidable Mrs Grose. While her voice is a trifle too large for the role, and her singing at times sounds a little unwieldy, her characterization (through subtle vocal inflections) is enormously interesting for, unlike the straight-forward and up-right house-keeper that we usually encounter in the part, one cannot be sure this time which side of the fence she is actually sitting on. Quite a dramatically ambiguous, and therefore interesting, portrayal! The children roles of Miles and Flora are often difficult to cast, and here they are taken by Julian Leang and Caroline Wise, whose voices and demeanor suit the characters well. Yet, Leang sometimes sounds a trifle too weak in voice, especially in the final scene where Miles, forced into a tight corner by the two adults, should more appropriately sound like a person at the end of his tether rather than the wayward kid who is merely sulking.

Daniel Harding and the Mahler Chamber Orchestra give a refreshing, texturally transparent and technically most accomplished account of the wonderful score. The instrumentalists all play with diamond precision and their teamwork is exemplary. Their evocation of nature is beautifully handled and there is always a palpable sense of inner tension, which is so important for this work. However, some of the climaxes (such as the duet of Quint and Miss Jessell that opens Act II, the macabre piano-playing scene and the final passacaglia) are somewhat understated (or too cautiously handled) such that some of their musical impact is lost as a result.

This recording, made just before a series of critically acclaimed production at Covent Garden, was recorded at the Maltings Concert Hall, Snape in January 2002. The acoustics, spacious yet with a sense of intimacy, suit the piece rather well. The balance between the voices during ensembles is also well judged. Besides the full libretto, the CD booklet also contains an article, although I found its contents to be not as illuminating as those which accompany some other versions. All in all, despite some minor reservations, this is a fine-recorded account of a most haunting opera.

Description of Britten: The Turn of the Screw (complete opera) ~ Harding

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