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Benjamin Britten
PETER GRIMES

Peter Grimes – John Graham Hall
Boy – Francesco Malvuccio
Ellen Orford – Susan Gritton
Captain Balstrode – Christopher Purves
Auntie – Felicity Palmer
First Niece – Ida Falk Winland
Second Niece – Simona Mihai
Bob Boles – Peter Hoare
Swallow – Daniel Okulitch
Mrs. Sedley – Catherine Wyn-Rogers
Rev. Horace Adams – Christopher Gillett
Ned Keene – George von Bergen

Milan La Scala Chorus and Orchestra
Robin Ticciati, conductor

Richard Jones, stage director

Recorded live at the Teatro alla Scala, June 2012

Bonus:
- Interviews with cast and crew

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Japanese, Korean
Running time: 168 mins
No. of Discs: 1 (Blu-ray)

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REVIEW:

Robin Ticciati brings transparency and detail to the score, director Richard Jones focuses on Grimes the outsider and the entire cast gives a magnificent performance.

– Gramophone

This collection of works for string orchestra combines two of Britten's first masterpieces, Simple Symphony and the Frank Bridge Variations, with the even earlier Elegy for Strings - recorded here for the first time - and Two Portraits, composed between the ages of 14-16. Directed by the Norwegian violinist Terje Tonnesen, the Swedish string ensemble Camerata Nordica performs this program with an engaging directness and striking virtuosity - qualities which no doubt contributed to the team being entrusted by the Britten-Pears Foundation with making the world premiere recording of the Elegy, as well as giving it's first public performance during the 2013 BBC Proms.

The Swedish baritone Peter Mattei has made a formidable reputation for himself performing at the most prestigious opera houses in the world: the Metropolitan, Teatro alla Scala and Covent Garden, to mention but a few. He first came to the attention of an international audience when Peter Brook selected him as his Don Giovanni, for an Aix-en-Provence production which was later filmed. Something of a 'director's opera singer', Mattei has also worked with Ingmar Bergman, Michael Haneke and Patrice Chereau, and regularly astounds audiences with his exceptional acting skills, coupled as they are with a voice of rare beauty. In the recording studio he is, however, a more rarely seen guest. On this his first and long-awaited disc of arias, he revels in the rich opportunities offered by the baritone literature, performing a selection of his favourite arias and roles. Lovelorn young men and cynical libertines, friends faithful unto death and innocent victims of oppression - all of these are brought to life as one of today's finest operatic baritones displays his entire range with the eminent support of the Royal Stockholm Philharmonic Orchestra and Lawrence Renes on the podium

800 liters of water, two sails, thirty pulleys, sixty hammocks : for the Bicentenary of the Teatro Real of Madrid, Deborah Warner coined a colossal production of Benjamin Britten’s Billy Budd. “Oh, what have I done?” Captain Edward Fairfax Vere, former commander of the H.M.S. Indomitable asks himself with horror at the beginning of the opera, before recounting the tragic events that took place aboard his ship in 1797. The story revolves around a young model sailor, Billy Budd, and John Claggart, the unscrupulous master-at-arms obsessed and crazed by Billy’s angelic beauty; and follows the characters in their fall down to the most infernal depths of perversion and psychosis, exploring the themes of innocence, culpability, individual responsibility and justice. In this ambiguous and symbolic tale, drawn from Herman Melville’s last masterpiece, the composer Benjamin Britten, who returns for the occasion to symphonic opera and its infinite possibilities, unsettles and disturbs us by revealing the complexity and universality of human experience. Far from writing the characters as allegories of Good and Evil, the opera shows us instead the remorseless logic followed by the surge of one’s darkest desires. But in this opera dominated by masculinity, Deborah Warner goes beyond the story of violence, jealousy and hatred and chooses to focus instead on the collateral beauty produced by comradeship, friendship and forgiveness. Tenor Jacques Imbrailo, who knows the title role perfectly, delivers a stunning rendition of the young sailor’s part, while British singers Toby Spence and Brindley Sherratt provide solid interpretations of Captain “Starry” Vere and of John Claggart. In the pit, Ivor Bolton masterfully deploys, along with the Orchestra of the Teatro Real, all the energy and power of Britten’s fifth opera.

The “Songs from the Chinese”, a cycle of six songs on poems translated from the original Chinese by Arthur Waley (1889–1966), were written in 1957 and premiered the following year by the duo of Pears and Bream. By the late 50s Bream was a lutenist and guitarist of great renown and had accompanied Pears in works by Dowland and other early music of the British Isles, concerts that inspired Britten to write for the duo some music of his own. His cycle naturally invited comparison with another great set of songs from the Chinese, Mahler’s “Das Lied von der Erde”, and the reception at the time was favourable: “as a whole, they make a statement about life (and particularly the transience of youth and beauty) as poignant and personal as Mahler’s” (critic Jeremy Noble in Tempo,1959). The sixth instalment of Britten’s lifelong project of folksong arrangements was published in November of 1961 in a second wave along with volumes four and five, which followed some 12 years after the first three volumes were issued in the 1940s. Volume Six contains six English folksongs and is the only one of the sets that he scored for voice and guitar. These folksong arrangements are as much a product of Britten’s admiration for Bream as are the “Songs from the Chinese”. In fact, when Pears and Bream premiered Britten’s song cycle at the Aldeburgh Festival (17 June 1958), they performed three of these folksongs on the same concert. Britten wrote the guitar solo “Nocturnal” after John Dowland in 1963 for Bream, who premiered it the following year (12 June 1964). The nine movements of the work are a “variations & theme”, progressing opposite to the usual order of a theme and variations. The model, “Come, Heavy Sleep” from the First Book of Songs by John Dowland (1563–1626), is only revealed at the end, with the variations leading up to it hinting at the song with treatments of various thematic fragments. Marcello Nardis and Duilio Meucci complete this album with three additional works by Dowland including the original “Come, Heavy Sleep” on which Britten based his Nocturnal, another well-known song, “Flow my tears”, and the lute solo “A Dream”.

Outstanding singers, conductors and directors come together in five diverse but compelling operas by Benjamin Britten. The turbulent, inward fishing community of Peter Grimes is transposed to a merciless 1980s society in Richard Jones' production. An 'outstanding' Sarah Connolly (Guardian) stars in The Rape of Lucretia, navigating the difficult tale with superb poise. Billy Budd is grippingly staged aboard the claustrophobic MS Indomitable, with Jacques Imbrailo portraying the troubled sailor in the 2010 Glyndebourne Festival Opera production by Michael Grandage. More light-hearted is the Royal Opera House staging of Gloriana, penned by Britten to celebrate the Coronation of Queen Elizabeth II and featuring Susan Bullock as the monarch. Finally, Edward Gardner conducts the English National Opera in Deborah Warner's highly acclaimed production of Death in Venice, In which John Graham-Hall stars as the ageing Gustav von Aschenbach. These productions from some of the world's best opera houses offer five masterful performances that are an ideal way to experience Benjamin Britten's music. Filmed in High Definition and recorded in true Surround Sound.

A BRITTEN COLLECTION
(7-DVD Box Set)

PETER GRIMES

Peter Grimes - John Graham Hall

Boy - Francesco Malvuccio
Ellen Orford - Susan Gritton
Captain Balstrode - Christopher Purves
Auntie - Felicity Palmer
First Niece - Ida Falk Winland
Second Niece - Simona Mihai
Bob Boles - Peter Hoare
Swallow - Daniel Okulitch
Mrs. Sedley - Catherine Wyn-Rogers
Rev. Horace Adams - Christopher Gillett
Ned Keene - George von Bergen

Milan La Scala Chorus and Orchestra
Robin Ticciati, conductor
Richard Jones, stage director

Recorded live at the Teatro alla Scala, June 2012

THE RAPE OF LUCRETIA

Lucretia - Sarah Connolly
Tarquinius - Christopher Maltman
Bianca - Catherine Wyn-Rogers
Lucia - Mary Nelson
Junius - Leigh Melrose
Collatinus - Clive Bayley
Female Chorus - Orla Boylan
Male Chorus - John Mark Ainsley

English National Opera Orchestra
Paul Daniel, conductor

David McVicar, stage director

Recorded live at the Aldeburgh Festival, The Maltings, Snape, 2001

BILLY BUDD

Captain Vere - John Mark Ainsley
Billy Budd - Jacques Imbrailo
Claggart - Phillip Ens
Mr. Redburn - Iain Paterson
Mr. Flint - Matthew Rose
Lieutenant Ratcliffe - Darren Jeffery
Red Whiskers - Alasdair Elliott
Donald - John Moore
Dansker - Jeremy White
Novice - Ben Johnson
Squeak - Colin Judson
Bosun - Richard Mosley-Evans

Glyndebourne Chorus
London Philharmonic Orchestra
Mark Elder, conductor
Michael Grandage, stage director

Recorded live at the Glyndebourne Opera House, 8 and 11 June 2010

GLORIANA

Queen Elizabeth I - Susan Bullock
Earl of Essex - Toby Spence
Countess of Essex - Patricia Bardon
Lord Mountjoy - Mark Stone
Lady Rich - Kate Royal
Sir Robert Cecil - Jeremy Carpenter
Sir Walter Raleigh - Clive Bayley
Ballad Singer - Brindley Sherratt

Royal Opera Chorus
Royal Opera House Orchestra
Paul Daniel, conductor
Richard Jones, stage director

Recorded live at the Royal Opera House, June 2013

DEATH IN VENICE

Gustav von Aschenbach - John Graham Hall
Traveller / Elderly Fop / Gondolier / Barber / Hotel Manger / Player / Dionysus - Andrew Shore
Apollo - Tim Mead
Tadzio - Sam Zaldivar
The Polish Mother - Laura Caldow
Two Daughters - Mia Angelina Mather / Xhuliana Shehu
The Governess - Joyce Henderson
Jaschiu - Marcio Teixeira

English National Opera Chorus and Orchestra
Edward Gardner, conductor
Deborah Warner, stage director

Recorded live at the London Coliseum, June 2013

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Bonus:
- Cast gallery (all)
- Introduction to the opera (Billy Budd, Gloriana)
- Introduction to the designs (Billy Budd)
- Interviews with the cast and crew (Peter Grimes)
- Comments from the director (The Rape of Lucretia)
- Britten’s Aldeburgh (Gloriana)

Picture format: NTSC 16:9 anamorphic
Sound format: DTS 5.1 (all) / + LPCM 2.0 (The Rape of Lucretia, Billy Budd, Gloriana) / + Dolby Digital 2.0 (Peter Grimes, Death in Venice)
Region code: 0 (worldwide)
Audio Language: English
Menu Language: English
Subtitles: English, French, German (all) + Japanese (Peter Grimes, The Rape of Lucretia, Gloriana) + Korean (Death in Venice) / + Spanish (Billy Budd)
Running time: 13 hrs 10 mins (opera) + 27 mins (bonus)
No. of DVDs: 7 (DVD 9)

Fans of Benjamin Britten and of The Sixteen will rejoice at this reissue of material from the choir's acclaimed three-volume Britten series originally recorded for the now-defunct Collins label. (Presumably all of the music from the complete set eventually will appear under the Sixteen's new Coro emblem.) If you know the earlier recordings, you'll quickly notice that the program here is different from the original configurations: there are five selections from Collins' Vol. 3--Hymn to the Virgin, A Hymn of Saint Columba, Hymn to Saint Peter, Jubilate Deo, Festival Te Deum; three from Vol. 2--Rejoice in the Lamb; Antiphon; Te Deum in C; and the Hymn to Saint Cecilia from Vol. 1.

Recorded performances of Britten's choral music don't get any better than this. No one will argue that this choir was/is capable of singing anything, and singing it as well as or better than anyone--and these Britten pieces are made for exuberant, exultant, exacting singing that the Sixteen can do without a blip, a glitch, or the slightest faltering step. From the fawning, devotional A Hymn to the Virgin to the wild and glorious Rejoice in the Lamb, this is music most perfectly created and most grandly and emphatically presented. A first-class effort; a classic.

--David Vernier

Works:
Hymn to the Virgin
A Hymn of Saint Columba
Hymn to Saint Peter
Antiphon
Te Deum in C
Jubilate Deo
Hymn to Saint Cecilia
Festival Te Deum
Rejoice in the Lamb

“Gift Voucher: six Suites for Slava” This note, scribbled on a paper napkin was a promise supposedly made in 1964 by Benjamin Britten to the cellist Mstislav Leopoldovich “Slava” Rostropovich. It would appear that he wanted to compose for his friend a contemporary counterpart to Bach’s Solo Suites, which for any cellist are a sort of Old Testament in the cello repertoire. Britten took Baroque dance movements as a model and formed them into modern character pieces. Both from the point of view of form and tone, they exude a kinship and affinity with Johann Sebastian Bach. The fact that he actually only composed three suites was due to Britten’s poor health and his death not long afterwards. Britten’s encounter with Mstislav Rostropovich was the motive and inspiration for his cello works: they had met in the early 1960s through Dmitry Shostakovich at a performance by Rostropovich of the Soviet composer’s First Cello Concerto. Shostakovich is said to have complained after the concert of bruised ribs because during the concert Britten had often jabbed him in the ribs out of pure enthusiasm for the music. That enthusiasm led Benjamin Britten to dedicate his cello suites to the exceptional cellist. (Jakob Spahn)

The outstanding English composer working in the mid-20th century, Benjamin Britten won a significant international reputation, whilst remaining thoroughly English in inspiration.

Henry James’s novella has become notorious as at once the most stylish and elusively ambiguous of all nineteenth-century ghost stories. In June 1932, the eighteen-year-old Benjamin Britten heard a radio adaptation of James’s story and noted in his diary that it was ‘wonderful, impressive but terribly eerie & scary’. He read the novella for himself in January the following year, telling his diary that he still found it ‘glorious & eerie’ and judging it to be an ‘incredible masterpiece’. His subsequent operatic setting is unequivocally a masterpiece, and here receives a first-class production made for television with an outstanding cast led by Robert Murray and Rhian Lois, accompanied by Sinfonia of London and conducted by John Wilson.

These works show some of the breadth and range of Britten's choral writing, embracing the masque from his opera Gloriana, his own take on the English part song tradition in Five Flower Songs, and his last work for unaccompanied voices, Sacred and Profane. The latter sets medieval texts described herein as 'a mixture of the devotional and the rumbustiously secular'.

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Also available on standard DVD

Benjamin Britten’s last opera Death in Venice is based on the novella by Thomas Mann. It was first performed in England in 1973. The astringent score is marked by some haunting soundscapes of 'ambiguous Venice'. The boy Tadzio is portrayed by a silent dancer, gamelan-like percussion accompaniment. The music of the opera is precise, direct and movingly understated. Britten had been contemplating the novella for many years and began work in September 1970 with approaches to Piper and to Golo Mann, son of the author. Because of agreements between Warner Brothers and the estate of Thomas Mann for the production of Luchino Visconti’s 1971 film, Britten was advised not to see the movie when it was released. According to Colin Graham, director of the first production of the opera, some colleagues of the composer who did see the film found the relationship between Tadzio and Aschenbach "too sentimental and salacious". This contributed to the decision that Tadzio and his family and friends would be portrayed by non-speaking dancers. Themes in the work of "formalism in art and the perilous dignity of the acclaimed artist" have been noted.

Marlin Miller, tenor – Gustav von Aschenbach; Scott Hendricks, baritone – Traveller and other roles;François Bittar, countertenor – Voice of Apollo; Allessandro Riga, dancer – Tadzio;
La Fenice Theatre Orchestra and Chorus; Bruno Bartoletti, conductor
DIRECTION & COSTUMES: Pierluigi Pizzi
CHOREOGRAPHY: Gheorghe Iancu

Recorded Live at Teatro La Fenice, Venice 2008
NTSC; All Regions
Running time 155 min.
Sung in English
Subtitles: Italian, German, French, Spanish

Benjamin Britten’s music formed one of the pillars of the Czech Philharmonic’s concert programmes under its chief conductor Karel Ančerl. The famous Variations on a Theme of Purcell was in all likelihood the most frequently performed work (in 1962 also in England), and this CD contains the previously unreleased 1958 recording in the original version without narration.

The enchanting and joyous Spring Symphony, commissioned by Serge Koussevitzky, was presented in Czech in Prague by Ančerl, the Czech Philharmonic and the finest soloists of the time. Forming a stark contrast to these two works is the War Requiem, a grand piece commemorating the victims of the most gruesome armed conflict in human history. Britten dedicated it to the memory of four friends of his who died in WWII while serving in the British navy or army. The work’s Czech premiere, with the participation of superlative foreign soloists (Gerald English, John Cameron), took place less than four years after its world premiere. So enthused was he by the work that in November 1969, following his emigration to Canada, Ančerl included the War Requiem in one of his first concerts in Toronto. The conductor’s personal profound experience of the senseless barbarity of the war imbued his conception of the work with a chilling authenticity. Both of the two previously unreleased concert recordings were made by the former Czechoslovak Radio.

Classical Music

2020 holiday release. It's Christmas. Graham Ross invites you to explore the highly individual conception of traditional carols offered by Twentieth Century British composers and, notably, the most eminent among them, Benjamin Britten. Arranged around his famous Ceremony of Carols is a selection of wonderful choral pieces with or without organ, each of which testifies in it's own way to the meticulous care Britten brought to these musical gems, most of them deriving from English folk tradition.

After Berg, Schoenberg, Bartók, and Stravinsky, Isabelle Faust now tackles Britten with Jakub Hrůša and the Bavarian Radio Symphony Orchestra, revealing a little-known facet of the British composer. This concerto, highly personal in it's language, combines drama with humor, seriousness with satire, in music of overwhelming emotional depth. The program is completed by early chamber works.

This album combines three of Britten's enduringly popular, yet vastly distinctive works. Sir Simon Rattle leads us on an unexpected journey through this diverse collection of masterpieces. Written shortly after the outbreak of World War II, Sinfonia da Requiem meditates in part on the political populism which had, for the second time in just a few decades, plunged the world in to an existential crisis. In this piece, Britten's rich, yearning harmonies reveal a sombre and dramatic warning of the cost of conflict. From the darkness of war, we move towards the light with Britten's choral Spring Symphony. With it's mysterious reimagining of traditional English folk song and verse, the work depicts the gradual reawakening of the natural world when winter ebbs away, and spring begins to triumph. Britten let his imagination catch fire in The Young Person's Guide to the Orchestra. This brilliantly original showpiece is one of the composer's best-known pieces, and draws the album to a close.

Britten's cantata St. Nicolas is another of the great modern pieces on a Christmas theme. Dramatic, even dark in places – as in the best music from Bach on down, a glimpse of the shade helps us better appreciate the light – Britten's tale of St. Nick is utterly enthralling, especially in this beautifully recorded performance. Conductor Steuart Bedford assisted Britten at the end of the composer's life and became one of his most sensitive interpreters, leading the premiere of the opera Death in Venice and directing the Aldeburgh Festival for decades. The late English tenor Philip Langridge, the soloist in St. Nicolas, does his stirring best here, as do the BBC Singers in Christ's Nativity. Like many of Britten's later scores, his festive setting of Psalm 150 was designed for a mix of professional and amateur players; the children's chorus here shines brightly.

– Bradley Bambarger, Listen [Winter 2011]

All of Steuart Bedford's Britten recordings are excellent, and this one is no exception. The most important item here is the suite from Gloriana, a beautiful and moving piece that for some reason has never quite caught on. Bedford captures the bravura and pageantry of the opening and Courtly Dances, as well as that bitter edge that so surprised the opera's first audience. There are more exciting performances of the Four Sea Interludes available (including the composer's own), though Bedford's are never less than very good--but the Sinfonia da Requiem is terrific, aided by some virtuoso playing in the second movement by the LSO brass section and by a rich recording that gives those pounding timpani and bass drum strokes in the opening movement great power. Originally recorded for Collins Classics, at Naxos prices this is a bargain of the first magnitude. [6/14/2005] --David Hurwitz, ClassicsToday.com

This re-release of the Spring Symphony, complemented by two smaller but equally life-confirming works by Britten, marks the composer’s centenary year. It also forms part of Chandos’ Richard Hickox Legacy series. Hickox conducts the London Symphony Orchestra with the soloists Elizabeth Gale, Alfreda Hodgson, and Martyn Hill and a number of UK choirs.

This is probably the finest version of the Britten Piano Concerto available, notwithstanding Britten's own justly revered rendition with Sviatoslav Richter on Decca. Certainly that is a wonderful performance, one that no one who loves the work should miss. But many years have come and gone. Although I do not subscribe to automatic assumptions of musical "progress", and even if Joanna MacGregor is no Richter, she certainly knows this work and plays it beautifully, and in any case the qualities that she and Steuart Bedford bring to the piece are quite different from what we find on the composer's own recording. In particular, Richter and Britten treat the work more in the Romantic virtuoso tradition, with a clear spotlight on the soloist, with the orchestra in a decidedly accompanying role.


MacGregor and Bedford work more as equals. Bedford's snappier rhythms and lighter textures combine with a less prominent piano to create an elegant, neo-classical atmosphere that's equally in keeping with Britten's idiom, as well as with the work's suite-like construction and formal patterning. The fact that MacGregor isn't as powerful a solo personality when compared to Richter does not mean that she is any less in command of Britten's flashy keyboard writing. Her finger-work in the opening Toccata is dazzling, her rhythmic acuity clearly superior to Richter's, while her sensitivity in the third-movement Impromptu and her give-and-take with the instrumentalists of the English Chamber Orchestra are wholly winning. She also brings plenty of spirit and a real "kick" to the concluding march, aided in no small degree by Bedford's alertness and the absolutely first-class sonics.


You also get the concerto's original third movement, a Recitative and Aria, as a thoughtful appendix. Ondine's recording, featuring Ralf Gothoni, also includes this movement but foolishly puts it in the middle of the work, meaning you have to skip over it (or the Impromptu) so as not to get stuck with a spurious, five-movement conflation of both versions. The couplings, both rarities, are just as brilliantly played. The Johnson Over Jordan Suite is especially entertaining, particularly its jazzy centerpiece, The Spider and the Fly. In short, I couldn't be happier that Naxos has been reissuing these excellent Collins Classics Britten recordings. They were and remain marvelous, almost as interpretively commanding as the composer's own, and they deserve a long life. [4/11/2005]
--David Hurwitz, ClassicsToday.com

Crouch End Festival Chorus presents two Britten classics: Saint Nicolas and A Ceremony of Carols. Full of vibrancy and drama, Saint Nicolas is performed alongside the fabulous BBC Concert Orchestra and features tenor Mark Le Brocq as well as Coldfall Primary School Choir, members of Hertfordshire Chorus and Hannah Brine Choirs. The ever-popular A Ceremony of Carols is performed with harpist Sally Pryce, with both works conducted by David Temple. A Ceremony of Carols (1942/3) and Saint Nicolas (1948) are the earliest works that Benjamin Britten composed for public performance primarily for boys’ voices. These performances, recorded here at London’s All Saint’s Church and Alexandra Palace Theatre, truly show how glorious these two pieces of music are, and why they have remained so popular.

REVIEW:

This album stands out, for it might be considered an authentic performance. The main choir, gallery choir, boy soloists, and duo pianists here are all amateurs, and they bring a sense of discovery to the work and its narrative quality that's different from professional choir performances. The Ceremony of Carols has the requisite bright innocence, and the boy soloists in Saint Nicolas are top-notch. Conductor David Temple deserves special notice here, fusing the members of four separate choirs into a seamless whole. The engineering in the recently restored and acoustically ideal Alexandra Palace Theater is a bonus on top of this fine slice of the English choral tradition.

– AllMusicGuide.com (James Manheim)

Benjamin Britten was throughout his life drawn to folk-song, possessing a special gift for wordsetting and vocal writing. This second disc of the complete folk song arrangements focuses on the orchestral versions and the volumes for guitar and harp.

Tying in with the 100-year anniversary in 2013 of the composer’s birth, we here present two such works, performed by the BBC Philharmonic under Edward Gardner with Chandos stars Tasmin Little and Howard Shelley. The Violin Concerto, here performed dazzlingly by Little, is essentially tragic and weighty in tone, perhaps reflecting his growing concern with the escalation of war-related hostilities. Under Shelley’s fingers the Piano Concerto – in a rare recording with the original third movement, “Recitative and Aria” – is generally lighter and brighter, more transparent and simpler in style.

This double-disc set of new recordings includes the world premier recording of Cello Sonata in A, composed by Britten as a boy of 13 years of age. A culminating release in celebration of Britten's centenary. The booklet's liner notes were written by the artists.