Billy Budd | |
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Opera by Benjamin Britten | |
Librettist | |
Language | English |
Based on | Billy Budd by Herman Melville |
Premiere | 1 December 1951 (original four-act version) 9 January 1964 (revised two-act version) Royal Opera House, London |
Billy Budd, Op. 50, is an opera by Benjamin Britten to a libretto by the novelist E. M. Forster and Eric Crozier, based on the short novel Billy Budd by Herman Melville. [1] Originally in four acts, the opera received its premiere at the Royal Opera House (ROH), London, on 1 December 1951. [2] Britten later revised the work into a two-act opera, with a prologue and an epilogue. The revised version received its first performance at the ROH, Covent Garden, London, on 9 January 1964. [3]
E. M. Forster had an interest in the novella, which he discussed in his Clark lectures at Cambridge University. Forster had admired Britten's music since 1937 when he attended a performance of the play The Ascent of F6 (for which Britten wrote incidental music). Forster met Britten in October 1942, when he heard Peter Pears and Britten perform Britten's Seven Sonnets of Michelangelo at the National Gallery. [4] In 1948, Britten and Forster discussed whether Forster might write an opera libretto. They agreed on Billy Budd as a work to be adapted into an opera, with a formal meeting in January 1949 to discuss the project. [5] Forster worked with Eric Crozier, a regular Britten collaborator, to write the libretto. [6] [7] Scholar Hanna Rochlitz has studied the adaptation and collaboration in detail. [8] [9]
While Britten was composing the music, the Italian composer Giorgio Federico Ghedini premiered his one-act operatic setting of Billy Budd at the 1949 Venice International Festival. This disturbed Britten, but Ghedini's opera gained little notice.
Britten originally intended the title role for Geraint Evans, who prepared it but withdrew because it lay too high for his voice. Britten chose Theodor Uppman to replace him, and Evans sang a different role, that of Mr Flint. [10]
When Britten conducted the opera's premiere, in its original form of four acts, the performance received 15 curtain calls. Critical reaction to the premiere, according to a December 1951 New York Times article, was "a very good press and a very fair one, enthusiastic if not really ecstatic". [11] Billy Budd received its United States première in 1952 in performances by Indiana University Opera Company. In 1952, NBC television presented a condensed version of the opera. [12] Performances of the original version fell off in number in the subsequent years. [3] The original four-act version has been occasionally revived, such as at the Vienna State Opera in 2001 [13] and 2011.
In 1960, Britten revised the score into a two-act version, in preparation for a BBC broadcast. Vere's first appearance after the prologue had been originally the Captain's Muster, in which he addresses the crew at the end of Act 1; Britten cut this, explaining to his librettist Eric Crozier that he had never been happy with that scene, [14] so making Vere's first appearance on the ship a private moment alone in his cabin. [n 1] Britten changed some of the structural balance from the contrasting Acts 3 and 4. The first performance of the revised two-act version was on 9 January 1964 at the Royal Opera House, Covent Garden, conducted by Georg Solti. The 1966 BBC Television broadcast was conducted by Charles Mackerras, with Peter Glossop (baritone) as Billy, Peter Pears as Vere, and Michael Langdon as Claggart. [16] The 1967 Decca studio recording was made of the two-act version; the recording sessions were attended by staff from the Royal Opera House, Covent Garden.
The first USA performance of the revised two-act edition was on 4 January 1966 by the American Opera Society. [17] The opera was produced in November 1970 at the Lyric Opera of Chicago, with Uppman reprising the title role, Richard Lewis as Vere, Geraint Evans as Claggart, Bruce Yarnell as Redburn, Raymond Michalski as Flint, and Arnold Voketaitis as Ratcliffe. [18]
External videos | |
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Mini-feature of the 2010 Glyndebourne production of Billy Budd 6:26 |
The Metropolitan Opera first staged Billy Budd in 1978. [19] Glyndebourne Festival Opera first staged the opera in 2010, in the operatic directorial debut of Michael Grandage; [20] the production was revived in 2013. [21]
A new performing edition of the work, with a revised orchestration by Steuart Bedford, premiered at Des Moines Metro Opera on 1 July 2017. [22]
Baritones who have sung the role of Billy Budd include Sir Thomas Allen, Sir Simon Keenlyside, Richard Stilwell, Dale Duesing, Nathan Gunn, Rod Gilfry, Bo Skovhus, Thomas Hampson, Teddy Tahu Rhodes, Peter Mattei, Jacques Imbrailo and Liam Bonner. Notable Veres have included Peter Pears, Richard Cassilly, Philip Langridge, Anthony Rolfe Johnson, and John Mark Ainsley.
Several academic studies investigate various thematic undertones in the opera, including homosexuality and salvation. [23] [24]
Role | Voice type | Premiere cast, 1 December 1951 (original four-act version) (Conductor: Benjamin Britten) [25] | Premiere cast for the revised two-act version 9 January 1964 (Conductor: Georg Solti) |
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Captain Vere of HMS Indomitable | tenor | Peter Pears | Richard Lewis |
Billy Budd, able seaman | baritone | Theodor Uppman | Robert Kerns |
John Claggart, Master-at-arms | bass | Frederick Dalberg | Forbes Robinson |
Mr. Redburn, First Lieutenant | baritone | Hervey Alan | John Shaw |
Mr. Flint, Sailing Master | bass-baritone | Geraint Evans | Ronald Lewis |
Lieutenant Ratcliffe | baritone or bass | Michael Langdon | David Kelly |
Red Whiskers, an impressed man | tenor | Anthony Marlowe | Kenneth MacDonald |
Donald | baritone | Bryan Drake | Robert Savoie |
Dansker, an old seaman | bass | Inia Te Wiata | Inia Te Wiata |
A Novice | tenor | William McAlpine | Joseph Ward |
The Novice's Friend | baritone | John Cameron | John Rhys-Evans |
Squeak | tenor | David Tree | Robert Bowman |
Bosun | bass | Ronald Lewis | Delme Bryn-Jones |
First Mate | bass | Rhydderch Davies | Dennis Wicks |
Second Mate | bass | Hubert Littlewood | Eric Garrett |
Maintop | tenor | Emlyn Jones | Kenneth Collins |
Arthur Jones, an impressed man | tenor or baritone | Alan Hobson | Keith Raggett |
Cabin Boy | spoken role | Peter Flynn | John Newton |
Four midshipmen | trebles | Brian Ettridge, Kenneth Nash, Peter Spencer, Colin Waller | Darian Angardi, Bruce Webb, David Sellar, Raymond Hatch |
Chorus: Midshipmen, Powder monkeys, Officers, Sailors, Drummers, Marines | Royal Opera Chorus & Children from Kingsland Central School |
Billy Budd is one of very few operas to have an all-male cast. [26]
4 flutes (2nd, 3rd and 4th doubling piccolos), 2 oboes, cor anglais, 2 clarinets (2nd doubling E-flat clarinet and 2nd bass clarinet), bass clarinet (doubling 3rd clarinet), alto saxophone, 2 bassoons, double bassoon, 4 horns, 4 trumpets (3rd in D), 3 trombones, tuba, timpani, percussion (six players xylophone, glockenspiel, triangle, block, tambourine, side drum, tenor drum, bass drum, whip, cymbals, small gong, 4 drums (played by drummers on stage), harp, strings.
Prologue
Scene 1: Main deck and quarter-deck of HMS Indomitable
Scene 2: Address
Act 2
Scene 1: Captain Vere's cabin
Scene 2: Berth-deck
Act 3
Scene 1: Main deck and quarter-deck
Scene 2: Captain Vere's cabin
Act 4
Scene 1: Bay of the upper gun-deck
Scene 2: Main deck and quarter-deck
Epilogue
Captain Edward Fairfax Vere, an old man, reflects on his life and his time in the navy. He reflects on the conflict between good and evil, tormented by guilt over the case of Billy Budd on board his ship, HMS Indomitable, some years earlier.
The crew of the Indomitable works on deck. For slipping and bumping into an officer, the Novice is sentenced to be flogged. At the same time a cutter approaches, returning from a merchant ship where it has pressed three sailors into the Royal Navy.
One of these sailors, Billy Budd, seems overjoyed with his situation – entirely different from the other two, Joseph Higgins and Arthur Jones, who are not so happy. Claggart, the Master-at-Arms, calls him "a find in a thousand", despite having a stammer. Billy says a jaunty farewell to the Rights o' Man, his former ship, innocent of what his words imply. The officers, forgetting mention of the name of his prior ship, take his words as a deliberate provocation and order the men below decks. Claggart tells Squeak, the ship's corporal, to keep an eye on Billy and give him a rough time.
The Novice is brought back from his flogging, unable to walk and helped along by a friend. The cruelty of the punishment shocks Billy, but he feels certain that if he follows the rules he will be in no danger. Dansker, an old sailor, nicknames Billy "Baby Budd" for his naïveté.
At this point in the four-act version, the climax of Act I features Captain Vere on deck to give a speech to the men. In the two-act version, after Billy has asked about the ship's captain, Dansker mentions Captain Vere's nickname, "Starry Vere," and this is enough for the impulsive Billy to swear his loyalty to the unseen captain.
In his cabin, Captain Vere muses over classical literature. His officers Mr Redburn and Mr Flint enter, and they discuss the Revolution in France and the Spithead and Nore mutinies sparked by French ideas of democracy. The officers warn that Billy may cause trouble, but Vere dismisses their fears and expresses his love for the men under his command.
Below decks, the sailors rough-house, but Dansker remains aloof. Billy goes for some tobacco to cheer him up, and discovers Squeak rifling through his kit. In a rage, Billy begins to stammer. Squeak draws a knife, and fights with Billy, who knocks Squeak to the ground as Claggart and the corporals enter. Billy is still unable to speak, but Dansker relates the events of the fight at Claggart's request. Claggart sends Squeak to the brig, to keep him silent. When alone, Claggart reveals his hatred for Billy and vows to destroy him. He orders the Novice to try to bribe Billy into joining a mutiny, and the broken-spirited Novice quickly agrees. Billy refuses the bribe and believes he will be rewarded, but Dansker warns him to beware of Claggart.
Claggart asks to see Vere, and after being granted access, begins to tell Vere about danger of mutiny led by one of the crew. However, the sighting of a French ship interrupts Claggart's narrative. The Indomitable goes in pursuit, and fires a warning shot, but loses the enemy in the mist. Claggart returns, and tells Vere that Billy poses a threat of mutiny. Vere does not believe him and sends for Billy so that Claggart may confront him.
Later, in Vere's cabin, Claggart repeats the false charge to Billy's face. Once again, Billy begins to stammer in rage. Unable to speak, he strikes Claggart, killing him. Captain Vere convenes a drumhead court for an immediate court-martial. The officers find Billy guilty and sentence him to hang. Billy begs Vere to save him, and the officers appeal to him for guidance, but Vere remains silent and accepts their verdict. He goes into the cabin where Billy is being held. The meeting between Captain Vere and Billy Budd is represented by 34 orchestral block chords, with no words. [28] (This was the end of Act 3 in the four-act version.)
Billy prepares for his execution in his cell. Dansker brings him a drink and reveals that the crew is willing to mutiny for his sake, but Billy argues against that and is resigned to his fate. At four o'clock that morning, the crew assembles on deck, and Billy is brought out. The Articles of War are read, and state that Billy must be hanged. Just before his execution, he praises Vere with his final words, singing "Starry Vere, God Bless you!". Following the execution, the crew begins to mutter in disaffection, which the officers quickly react to suppress.
Vere, as an old man, remembers Billy's burial at sea, and acknowledges that he could have saved Billy, but failed to do so, thinking that Billy has instead blessed and saved him. As he recalls Billy's blessing, he realises he has discovered genuine goodness and can be at peace with himself.
Year | Cast: Billy Budd, Captain Vere, John Claggart | Conductor, Opera House and Orchestra | Label [29] |
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1951 | Theodor Uppman, Peter Pears, Frederick Dalberg | Benjamin Britten, Chorus and Orchestra of the Royal Opera House, Covent Garden (original version, recording of the world premiere performance) | CD: VAI, Cat: VAIA 1034-3 |
1967 | Peter Glossop, Peter Pears, Michael Langdon | Benjamin Britten, London Symphony Orchestra and the Ambrosian Opera Chorus (revised version) | CD: Decca, Cat: 417 428-2LH3 |
1997 | Dwayne Croft, Philip Langridge, James Morris | Steuart Bedford, Metropolitan Opera Orchestra & Chorus (Recorded 11 March; John Dexter production) | SD video: Met Opera on Demand [30] |
1997 | Thomas Hampson, Anthony Rolfe-Johnson , Eric Halfvarson | Kent Nagano, Hallé Orchestra and the Hallé Choir, Northern Voices, and the Manchester Boys' Choir (original version) [31] | CD: Erato, Cat: 3984 21631-2 |
1999 | Simon Keenlyside, Philip Langridge, John Tomlinson | Richard Hickox, London Symphony Orchestra and Chorus (revised version) | CD: Chandos, Cat: CHAN 9826 [32] |
2004 | Bo Skovhus, Neil Shicoff, Eric Halfvarson | Donald Runnicles, Orchestra and Chorus of the Vienna State Opera (original version) | CD: Orfeo d'Or Cat: C 602 033 D [13] |
2008 | Nathan Gunn, Ian Bostridge, Gidon Saks | Daniel Harding, London Symphony Orchestra and Chorus [33] Grammy Award for Best Opera Recording 2010 | CD: Virgin Classics, Cat: 50999 5 19039 2 3 (revised version) |
2011 | Jacques Imbrailo, John Mark Ainsley, Philip Ens | Mark Elder, London Philharmonic Orchestra and Glyndebourne Chorus | DVD: Glyndebourne, Cat: OA BD 7086D (revised version) |
2013 | Jacques Imbrailo, John Mark Ainsley, Philip Ens | Mark Elder, London Philharmonic Orchestra and Glyndebourne Chorus | CD: Glyndebourne, Cat: GFOCD 017-10 (revised version) |
Edward Benjamin Britten, Baron Britten was an English composer, conductor, and pianist. He was a central figure of 20th-century British music, with a range of works including opera, other vocal music, orchestral and chamber pieces. His best-known works include the opera Peter Grimes (1945), the War Requiem (1962) and the orchestral showpiece The Young Person's Guide to the Orchestra (1945).
Sir Peter Neville Luard Pears was an English tenor. His career was closely associated with the composer Benjamin Britten, his personal and professional partner for nearly forty years.
Billy Budd, Sailor , also known as Billy Budd, Foretopman, is a novella by American writer Herman Melville, left unfinished at his death in 1891. Acclaimed by critics as a masterpiece when a hastily transcribed version was finally published in 1924, it quickly took its place as a classic second only to Moby-Dick among Melville's works. Billy Budd is a "handsome sailor" who strikes and inadvertently kills his false accuser, Master-at-arms John Claggart. The ship's Captain, Edward Vere, recognizes Billy's lack of intent, but claims that the law of mutiny requires him to sentence Billy to be hanged.
John Mark Ainsley is an English lyric tenor. Known for his supple voice, Ainsley is particularly admired for his interpretations of baroque music and the works of Wolfgang Amadeus Mozart. In the course of his career, he has gravitated towards 20th-century music, singing in operas by Henze, Janáček, and Britten.
Sir Geraint Llewellyn Evans CBE was a Welsh bass-baritone noted for operatic roles including Figaro in Le nozze di Figaro, Papageno in Die Zauberflöte, and the title role in Wozzeck. Evans was especially acclaimed for his performances in the title role of Verdi's Falstaff. He sang more than 70 different roles in a career that lasted from his first appearance at Covent Garden in 1948 to his farewell there in 1984.
Robert Tear, CBE was a Welsh tenor singer, teacher and conductor. He first became known singing in the operas of Benjamin Britten in the mid-1960s. From the 1970s until his retirement in 1999 his main operatic base was the Royal Opera House, Covent Garden; he appeared with other opera companies in the UK, mainland Europe, the US and Australia. Generally avoiding the Italian repertoire, which did not suit his voice, Tear became known in leading and character roles in German, British and Russian operas.
Theodor Uppman was an American operatic baritone. He is best known for his creation of the title role in Benjamin Britten's opera Billy Budd.
Billy Budd is a 1962 British historical drama-adventure film produced, directed, and co-written by Peter Ustinov. Adapted from Louis O. Coxe and Robert H. Chapman's stage play version of Herman Melville's short novel Billy Budd, it stars Terence Stamp as Billy Budd, Robert Ryan as John Claggart, and Ustinov as Captain Vere. In his feature film debut, Stamp was nominated for an Academy Award for Best Supporting Actor, and received a Golden Globe Award for Most Promising Male Newcomer. The film was nominated for four BAFTAs.
Robert Andrew Lloyd is an English operatic bass.
Mark Padmore is a British tenor appearing in concerts, recitals, and opera.
Eric Crozier OBE was a British theatrical director, opera librettist and producer, long associated with Benjamin Britten.
Michael Langdon CBE was a British bass opera singer. Despite little musical training, he joined the chorus of the Covent Garden Opera Company after the Second World War, graduating to minor and then major solo roles. Covent Garden remained his base throughout his career, but he sang as a guest in opera houses in Continental Europe and the Americas.
Matthew Rose is an English operatic bass.
Richard Van Allan CBE was a versatile British operatic bass singer who had a lengthy career.
Norman Lumsden was an English opera singer and actor. He first came to prominence during the 1940s and 1950s in several operas by composer Benjamin Britten, often performing at Covent Garden and the Aldeburgh and Glyndebourne festivals. He later began a television acting career during the 1970s appearing mostly in small roles in TV dramas. He branched out into films during the 1980s, notably appearing in Clint Eastwood's 1990 film White Hunter, Black Heart. He is particularly remembered for his portrayal of J. R. Hartley in the 1983 Yellow Pages advert Fly Fishing by J. R. Hartley, in 2015 voted fifth most popular British TV advertisement.
Graeme Danby is an operatic bass who has performed at several of the world's leading opera houses, notably the Royal Opera House, Covent Garden and the English National Opera. He was educated at the Royal Academy of Music in London.
Bryan Ernest Hare Drake was a New Zealand-born baritone who became particularly associated with the operas of Benjamin Britten.
Jacques Imbrailo is a South African classical baritone, who sings in operas and oratorios.
Billy Budd is a play by Louis O. Coxe and Robert H. Chapman based on Herman Melville's novella of the same name. Originally titled Uniform of Flesh, the play premiered Off-Broadway in 1949. Coxe and Chapman restructured and retitled the work for its Broadway debut in 1951. The revised version was a critical success, winning the Donaldson Award for Best First Play and the Outer Critics Circle Award for Best Play in 1951. In 1952 the play was adapted for the television anthology series Schlitz Playhouse of Stars, and Peter Ustinov adapted the play into a film which premiered in 1962.
Michael McCown is an American operatic tenor, based at the Oper Frankfurt. While many of the ninety roles in his repertoire are comprimario, he has portrayed lead roles such as Britten's Captain Vere, Abott and Tempter, and Nebukadnezar.
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