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Home , Alan Oke, Aldeburgh Festival, Aldeburgh Music, Buxton Festival, Peter Pears, Snape Maltings

Peter Grimes Booklet MORE PAGES.indd 1 Music The Britten centenary production recorded Text live as part of the 66th Festival 2CD SET 01/07/2013 08:57 Track listing [11] Look! The storm cone! (Balstrode, Ned, Scene 1 Scene 2 Boles, Chorus) 2.35 [26] Glitter of waves (Ellen) 1.29 [6] Go there (Peter) 1.54 [12] And do you prefer the storm (Balstrode, [27] Now that the daylight fills the sky (Ellen, [7] They listen to money (Peter) 5.02 Peter) 3.24 Rector, Chorus) 3.39 CD1 [8] Now! Now! (Peter, Chorus) 2.09 [13] They listen to money (Peter, Balstrode) 1.35 [28] Child you’re not too young (Ellen, Rector, [9] Peter Grimes (Rector, Swallow, Ned) 2.50 [14] What harbour shelters peace (Peter) 1.02 Peter, Chorus) 3.11 Prologue [15] Interlude II: Storm 4.05 [29] This unrelenting work (Ellen, Peter, Chorus) ACT III 4.18 [1] Peter Grimes (Hobson, Swallow, Peter) 1.32 [10] Interlude V: Moonlight 3.39 [2] You sailed your boat round the coast [30] Fool to let it come to this (Auntie, Ned, Scene 2 Boles, Mrs. Sedley, Balstrode, Swallow, Nieces, (Swallow, Peter, Mrs. Sedley, Hobson, Ellen, Scene 1 Rector, Chorus) 3.13 Chorus) 3.20 [16] Past time to close (Auntie, Mrs. Sedley, [11] Assign your prettiness to me (Swallow, Balstrode, Boles, Nieces) 2.22 [31] People ... No! I will speak! (Boles, [3] Peter Grimes, I here advise you (Swallow, Nieces, Ned) 3.12 Balstrode, Rector, Auntie, Ellen, Chorus) 2.09 Hobson, Peter, Chorus) 2.10 [17] Loud man (Auntie, Nieces, Mrs. Sedley) [12] Mr. Keene (Mrs. Sedley, Ned) 1.27 [4] The truth – the pity – and the truth (Peter, 1.00 Total time – 73.32 [13] Murder most foul it is (Mrs. Sedley, Ned) 1.24 Ellen) 1.55 [18] There’s been a landslide up the coast (Fisherman, Boles, Balstrode, Auntie) 0.59 [14] Come along, Doctor (Burgess, Burgesses, [5] Interlude I: Dawn 2:47 Rector, Mrs. Sedley, Ellen, Balstrode) 2.43 [19] No, I mean love (Boles, Balstrode, Chorus) [15] Embroidery in childhood was (Ellen, 0.32 CD2 Balstrode) 4.47 ACT I [20] Pub conversation should depend (Balstrode, [16] Mr. Swallow (Mrs. Sedley, Auntie, Swallow, Scene 1 Chorus) 1.19 ACT II Hobson) 1.55 [6] Oh, hang at open doors (Auntie, Boles, [21] Have you heard the cliff is down (Ned, Auntie, Mrs. Sedley, Chorus) 1.34 Scene 1 (continued) [17] Who holds himself apart (Chorus) 3.27 Balstrode, Chorus) 4.21 [1] We planned that their lives (Ellen, Rector, [18] Interlude VI 2.08 [7] Good morning, good morning! (Rector, [22] Now the Great Bear and Pleiades (Peter, Mrs. Sedley, Boles, Ned, Nieces, Auntie, Nieces, Mrs. Sedley, Ned, Swallow, Auntie, Nieces, Boles, Balstrode, Auntie, Chorus) 3.34 Balstrode, Hobson, Swallow, Chorus) 2.15 Scene 2 Boles, Balstrode, Chorus) 1.05 [23] For peace sake (Balstrode, Peter) 2.29 [2] Shall we go and see Grimes in his hut? [19] Grimes! (Voices, Peter) 5.09 [8] Hi! Give us a hand (Peter, Boles, Balstrode, [24] The bridge is down (Hobson, Ned, Ellen, (Rector, Swallow, Balstrode, Mrs. Sedley, Boles, Ned, Auntie, Hobson) 3.22 Boles, Auntie, Nieces, Peter) 1.27 [20] Peter, we’ve come to take you home (Ellen, Chorus) 0.47 Peter, Balstrode) 2.23 [9] I’ll have to go from pub to pub (Hobson, [3] Now gossip is put on trial (Chorus) 2.02 Ellen, Ned, Chorus) 1.54 [21] To those who pass the Borough (Swallow, [4] From the gutter (Nieces, Auntie, Ellen) 4.01 Fisherman, Auntie, Boles, Chorus) 5.13 [10] Let her among you without fault (Ellen, ACT II Hobson, Mrs. Sedley, Ned) 3.00 [25] Interlude III: Sunday Morning 2.26 [5] Interlude IV: Passacaglia 5.29 Total time – 63.47

Peter Grimes Booklet MORE PAGES.indd 2-3 01/07/2013 08:57 Synopsis Act I Act II Act III Interlude 1: Dawn Interlude 3: Sunday morning Interlude 4: Moonlight Prologue Scene 1: Morning Scene 1: Sunday morning Scene 1: Outside the Moot Hall, a few days later A boy apprenticed to the fisherman Peter Grimes The Borough goes about its business. Grimes Ellen sits down at the beach with John, the new In the Moot Hall a dance is in full swing. has died at sea. An inquest is being held to apprentice, while the church service begins. She Outside, Auntie’s ‘nieces’ manage to escape the determine the cause of death. After hearing returns from fishing; only Captain Balstrode, a encourages the boy to talk about himself, but he attentions of Swallow, who retires defeated into Grimes’s testimony, the coroner, Mr Swallow, retired naval officer, and Ned Keene, the local says nothing. Only then does she notice the the Boar. Mrs Sedley tells Ned Keene she has finds that the boy died in ‘accidental apothecary, are willing to help bring in his boat. bruising on his neck and immediately fears the conclusive proof that Grimes has murdered his circumstances’. But he warns Grimes not to get Keene tells Grimes he has arranged for a new worst. Grimes comes in to take the boy off apprentice. Keene leaves her to her midnight another apprentice. Grimes demands a full trial apprentice from the workhouse. The carter, fishing. Ellen pleads for the boy’s right to a day ravings. Ellen and Balstrode appear, discussing and the right to employ another boy. His pleas Hobson, at first refuses to fetch the boy, but of rest. When Peter refuses, she tells him that Grimes’s disappearance. Mrs Sedley overhears are ignored and the court is cleared. Ellen consents when Ellen offers to look after the child their attempt to make a new start has failed. that Ellen has found the boy’s sweater down by Orford, the local schoolteacher, assures Peter on the journey. As a storm grows, Balstrode tries Peter, in a frenzy, hits out at her and rushes off the shore. Ellen and Balstrode decide to try to that with her help the future will be better. to dissuade Grimes from a course he fears will result in another tragedy, but Grimes is with the boy. This scene has been witnessed, find Grimes and help him. When they are gone, determined to get rich, marry Ellen and thus and when the congregation comes out of church Mrs Sedley whips up the community against silence the Borough gossips. there is a call for action against Grimes. The Grimes and a man-hunt begins. men set out for his hut. Auntie, Ellen and the Interlude 2: Storm ‘nieces’ are left alone to reflect on the Scene 2: Some hours later Scene 2: The Boar hopelessness of loving men. Grimes is alone, tortured by the distant sound of the hunt, longing for escape and peace. Ellen Late that night, the storm has reached gale Scene 2: Grimes’s hut and Balstrode find him, and Balstrode helps him force. To the annoyance of Auntie, the landlady, Grimes orders the boy to get ready for fishing. push his boat out to sea for the last time. Day Mrs Sedley arrives to wait for Ned Keene. He Haunted by the death of the last apprentice, he breaks and the Borough goes about its business. has promised to meet her there with a new feels his dream of marrying Ellen slipping away. Far out at sea a boat is sinking. supply of laudanum. Balstrode insults Auntie’s When he hears the men from the Borough two ‘nieces’ while a drunken Bob Boles, the approaching, he immediately assumes the boy Methodist preacher, tries to molest them. At the has betrayed him. As he is hurrying the boy height of the storm, Ned Keene enters with news down the cliff to the sea, the Borough knocks at that the cliff by Grimes’s hut has been washed the door. He panics. The boy screams as he slips away. He is followed by Grimes himself. It is as and falls. Grimes climbs down after him. The if the eye of the storm had entered the room. men enter to find the hut deserted. When Ellen and the new apprentice arrive, as Peter Grimes, June 1945 soaked and exhausted from their journey, before Photographer: unidentified courtesy of the Britten–Pears Foundation the boy can rest, Grimes insists on taking him straight home. He drags him off into the night.

Peter Grimes Booklet MORE PAGES.indd 4-5 01/07/2013 08:57 ‘An ordinary weak person …’ have gone in many directions, as different world warm’, the somewhat clumsy words dear to him. The differences in emphasis and possibilities and different characters came and stretched awkwardly to fit the smooth melodic tone were significant, although not radically so. went. A court scene at the beginning of Act III line. (The commentator Philip Brett aptly calls The reception of Peter Grimes at its first But Britten and Pears’s own view of the work, and a final lament for Ellen were both envisaged the original version a ‘shotgun wedding – or, performance in 1945 was almost entirely too, changed over time. Writing in 1945, the at an early stage; Mrs Boles, an extra Swallow, more precisely, temporary cohabitation’.) positive; but a common theme in writing about composer said, ‘I wanted to express my and a Mr & Mrs Sanders disappeared from the the was concern about the ambiguous In other places Britten asked for changes before awareness of the perpetual struggle of men and nature of Grimes himself. And it was not only cast before their characters had been fully drawn. setting the words: who would recognize ‘Beer may women whose livelihood depends on the sea’; a the early critics and commentators who were The recruitment of Montagu Slater, a committed be spiced as wine by clove, / By like or dislike, rather misleading approach, put much more disconcerted by the central character. Both left-wing writer who had worked with Britten in hate or love’ as ‘We live and let live and look, / eloquently several years later: ‘[it is a] subject Britten and Pears (the latter made the first drafts the 1930s, marked the beginning of the libretto We keep our hands to ourselves’? In similarly very close to my heart – the struggle of the of the scenario in 1942) struggled to make as we know it. Slater, like W.H. Auden, had been alcoholic vein ‘Old Joe has gone fishing’ first made individual against the masses. The more vicious sense of a protagonist who, in Crabbe’s The a part of the GPO Film Unit, where Britten its appearance as ‘As I drank the home-brewed ale’. the society, the more vicious the individual’. In Borough, the opera’s primary source, has no learned much of his trade. The failure in New 1964 he was even more specific: ‘the individual redeeming qualities: in the poet’s own words ‘the Major reworking took place, too, where there are no York of Paul Bunyan, for which Auden had been against the crowd, with ironic overtones for our mind here exhibited is one untouched by pity, words, notably in the ‘Storm’ Interlude. Its apparent the librettist, meant that a further operatic own situation. As conscientious objectors we were unstung by remorse and uncorrected by shame’. collaboration between the two men did not come fluidity and inevitability cover up an unusual amount of indecision on Britten’s part, compounded out of it … [Grimes became] a tortuous idealist It is well known that the starting point for the into the picture – the experience led to their by Crozier’s request at a late stage for an extra … rather than the villain he was in Crabbe’. opera was the copy of Crabbe which Pears eventual estrangement. While he was still in the bought in California in late 1941. The scenario USA Britten had approached Christopher minute and a half of music to allow enough time Philip Brett was not the first to suggest that this began to take shape before and during his and Isherwood, another member of that circle, but for the scene change. The fourth Interlude, the should more accurately have read ‘as conscientious Britten’s return by sea to England in April 1942, Isherwood felt unable to take on Grimes. Passacaglia between Scenes i and ii of Act II, objectors and as homosexuals’, although he caused musical problems as well, beginning life rejected the unthinking approach of treating the so that Pears was able to say in a later interview, Work on the libretto, which also involved the as a fugue before finding its definitive form. opera primarily as if it had a homosexual subtext. ‘by the time we came back to London, the whole opera’s stage director, , occupied the Nevertheless Britten and Pears were outsiders in story of Peter Grimes as set in the opera was whole of 1943. Although the music must surely The many changes did not make for an entirely more than one way, and while it would be misguided fully shaped . . . it simply remained to call in a have been taking shape in his mind, Britten did comfortable relationship between composer and to read autobiographical elements into the work, librettist to write the words’. But it was a little not begin composing until January 1944, and librettist – not least because Slater began to feel their ‘own situation’ cannot be left entirely out of more complicated than that – as late as June inevitably this involved a process of continuing that he was dealing with a consortium, Britten the picture. Perhaps Pears put it best of all: 1942 Britten was still thinking of Grimes as a change to the libretto. Sometimes Britten and Pears’s own input being added to by Crozier, ‘Grimes is not a hero nor is he an operatic villain baritone; and the transformation of Grimes from composed to words he felt were unsuitable, so and later by Ronald Duncan, who was to be the ... he is very much of an ordinary weak person villain to victim was a slow process. that the text had to be subsequently changed to librettist of Britten’s next opera, The Rape of who, being at odds with the society in which he Crucial to the evolving scenario was the gradual fit the music. Ellen’s aria at the beginning of Act Lucretia. Slater eventually published his own finds himself, tries to overcome it, and in doing so, reworking of Act II and the emergence of the II, ‘Glitter of waves and glitter of sunlight / Bid version of the libretto – not as a hostile act, offends against the conventional code, is classed Borough’s role in the apprentice’s death, which us rejoice and lift our hearts on high’ read, even although Britten rather took it as such, but by society as a criminal, and destroyed as such’. had initially resulted entirely from Grimes’s as late as the manuscript full score, ‘The sun in because he felt that the opera had moved too far cruelty. The early drafts of the scenario could his own morning and upward climb makes a away from the socio-political aspects that were © 2013

Peter Grimes Booklet MORE PAGES.indd 6-7 01/07/2013 08:57 Biographies Britten–Pears Orchestra The BPO appears regularly in Guildhall Chorus The Guildhall School of Music the , the & Drama is one of the world’s The Britten–Pears Orchestra Soprano Emily Griffiths, Laura Snape Proms, the Easter leading conservatoires and (BPO) offers an exceptional Ruhi Vidal, Julia Sitkovetsky, conductor Festival and the autumn Britten drama schools, offering opportunity for emerging young Gina Walter Weekend. Previous guest professional musicians to study musicians, actors, stage Alan Oke Peter Grimes conductors have included Mezzo soprano Hannah Beynon, key repertoire in depth with managers and theatre , Robin Ticciati, Phoebe Haines, Bethan Giselle Allen Ellen Orford leading conductors, soloists technicians an inspiring Vasily Petrenko and Antonello Langford, Chloe Treharne David Kempster Captain Balstrode and tutors in the inspiring environment in which to Manacorda. Richard Bignall, Oliver develop as artists and Gaynor Keeble Auntie setting of the coast. It makes an important link 2012 saw the formation of a Martin-Smith, Matthew professionals. The School is a Alexandra Hutton First Niece between conservatories and the new and unique international McGuigan, Adam Sullivan global leader of creative and professional practice and Charmian Bedford Second Niece profession by combining project, the Aldeburgh World Bass Olivier Gagnon, Jake Gill, promotes innovation, Robert Murray Bob Boles practical training with the Orchestra (AWO), whereby 121 Jevan McAuley, Tom Murray experiment and research. Rated Henry Waddington Swallow opportunity to perform at the of the most talented young highest level. Orchestra musicians from across the globe Linnhe Robertson, No.1 specialist institution in Catherine Wyn-Rogers Mrs Sedley members are selected by were led by Mark Elder in Head of Vocal Studies the UK by the Guardian Christopher Gillett Rev. Horace Adams annual international audition performances that formed part The Guildhall Chorus is a University Guide 2013, it has Charles Rice Ned Keene and include students from over of the 2012 London Olympic multifunctional group of over 800 students in higher 35 countries, all of whom are Festival celebrations. education, drawn from nearly Hobson principal study singers. Its size Stephen Richardson either current conservatoire 60 countries around the world. Since 2008 the BPO has been can range from small chamber students or recent graduates. awarded an annual grant from choir to full symphony chorus The School is also the UK’s The Chorus of Opera North BPO players take part in up to the Leverhulme Trust to provide depending on the requirements leading provider of specialist four projects annually, working with the Chorus of the bursaries for BPO members. of the work being performed. Its music training at the under-18 on a wide range of repertoire Guildhall School of Music & Drama This enables the most aim is to provide students with level, with nearly 2,500 – from classical to promising students worldwide first-hand experience of working students in Junior Guildhall and Britten–Pears Orchestra contemporary, small ensemble to participate, regardless of with internationally renowned the Centre for Young Musicians. and string orchestra to major their financial situation. The conductors and directors. James Holmes assistant conductor symphonies and opera. orchestra is extremely grateful Recent performances include A number also join other Anthony Kraus chorus master to the Leverhulme Trust for its Mahler’s ‘Resurrection’ courses run by the Britten– Lindy Tennent-Brown music staff generous support. Symphony with the BBC Pears Young Artist Programme Symphony Orchestra conducted (BPP), often taking part in its by Jirí Belohlávek at the Young Artists’ concerts, which Barbican in December 2012. are a regular feature of the Aldeburgh Festival.

Peter Grimes Booklet MORE PAGES.indd 34-35 01/07/2013 08:57 Opera North Chorus Since the foundation of Opera Phyllida Lloyd’s highly Giselle Allen Charmian Bedford Steuart Bedford North in 1978, the Chorus of acclaimed production of Peter Soprano Sarah Blood, Sarah Born in Belfast, soprano Giselle Soprano Charmian Bedford read Steuart Bedford is recognized Opera North has established a Grimes, which was the winner Estill, Irene Evans, Gillene Allen graduated with honours in classics at Cambridge before as one of today’s leading reputation for quality and of the Southbank Show Award Herbert, Kathryn McGuckin, music from the University of studying singing at Trinity experts on the works of versatility. The Chorus features for Opera and the Royal Rachel Mosley, Victoria Sharp, Wales, before pursuing her College of Music. Her operatic Benjamin Britten. As a result of in most Opera North Philharmonic Society Opera Angela Sorrigan vocal studies at the Guildhall roles include Tytania in A his collaboration with the productions at the Leeds Grand Award and was nominated for a School of Music & Drama and Midsummer Night’s Dream for composer, he has conducted Mezzo soprano Vivienne Bailey, Theatre, touring the North of Laurence Olivier Award. at the Royal Academy of Music. both Opéra de Baugé and Britten’s throughout the Anna Barry, Hazel Croft, England regularly and often They also performed in Lloyd’s Garsington Opera (cover), and world, including the world Cordelia Fish, Claire Pascoe, travelling to Scotland, Northern Operatic appearances include Emmy Award-winning live DVD Rowan in for premiere of Shirley Thomas, Nicola Unwin, Ireland and London. Festival Donna Elvira in Don Giovanni, recording of , and in Jubilee Opera in Aldeburgh. (1973). From 1974 to 1998 he Miranda Bevin appearances have included the title roles in Katya the world premiere of Jonathan , Wiesbaden, Kabanova, Jenu°fa and Rusalka, She made her Opera North was joint artistic director of the Tenor Stephen Briggs, David Dove and Alasdair Middleton’s Ravenna and Bregenz. The and Freia in Das Rheingold for debut in 2010 in a new piece Aldeburgh Festival. Steuart has Llewellyn, Tim Ochala The Adventures of Pinocchio, Chorus has performed Orfeo ed Opera North; Ellen Orford in by Mira Calix and has worked worked with many of the world’s Greenough, Arwell Price, Paul later released by Opus Arte on Euridice in Monte Carlo, Boris Peter Grimes for Komische with the composer again on greatest opera companies. He is Rendall, Graham Russell, Ivan DVD. The Chorus has made a Godunov in Dortmund, Billy Oper, Berlin; Gerhilde in Die Streetwise Opera’s recent also highly regarded for his Sharpe, Nicholas Watts number of outstanding Budd in Rotterdam and The Walküre and Martha in The Fables – A Film Opera at the interpretations of Mozart recordings for Chandos Bass Nicholas Butterfield, Cunning Little Vixen at the Gran Passenger for ENO; Marie in Spitalfields Music Festival. She operas. Recent highlights including Michael Berkeley’s Stephen Dowson, Garrick Teatre Liceu, Barcelona. Wozzeck, Tatyana in Eugene created the lead role of Catarina include Salome (San Diego Baa Baa Black Sheep, Forbes, Paul Gibson, Jeremy Onegin and Helena in A in Nicola LeFanu’s Dream Opera), The Turn of the Screw On the concert platform, the Gerhard’s The Dueña, Walton’s Peaker, Dean Robinson, Gordon Midsummer Night’s Dream for Hunter at Wilton’s Music Hall, (Central City Opera) and a Chorus has given the world Troilus and Cressida (for which Shaw, Edward Thornton Canadian Opera Company, and recently sang First production of for premieres of Takemitsu’s My Opera North was awarded the Toronto; the title role in Tosca Attendant in the European . In the Steven Phillips, Chorus Manager Way of Life and Philip Wilby’s A 1995 Gramophone award for for Northern Ireland Opera; and premiere of John Harbison’s 2012–13 season he will conduct New World Dancing, as well as Best Opera recording) and Miss Jessel in The Turn of the Full Moon at the Warehouse. Paul Bunyan for Chicago Opera performances of the St John Verdi’s Nabucco and Don Screw for Opera North, Theatre and a production of Passion; the Brahms, Fauré and Carlos. For Deutsche Concert performances include Glyndebourne Festival and Albert Herring at the Barbican. Duruflé Requiems; Britten’s Grammophon, it appeared with Second Woman in Dido and Northern Ireland Opera. St Nicolas and Bernstein’s Bryn Terfel on If Ever I Would Aeneas with the Academy of In concert, Steuart has worked Chichester Psalms. The Chorus Leave You and Something This season Giselle will sing Ancient Music at , extensively with the English often gives concerts and Wonderful. with Northern Ireland Opera Mahler’s Symphony No.4 at the Chamber Orchestra, among recitals in the Howard Assembly and . Barbican, and Berio’s others. He has had a highly Room at Opera North, as well Future roles include Ellen Orford Laborintus II with Aurora successful career on disc and was as in other venues in Leeds and for Opera North and Miss Jessel Orchestra and Mahogany Opera the artistic director of the Britten on tour. The Chorus featured in for Opéra National de Lyon. at LSO St Luke’s. Edition series of recordings.

Peter Grimes Booklet MORE PAGES.indd 36-37 01/07/2013 08:57 Christopher Gillett James Holmes Alexandra Hutton Gaynor Keeble David Kempster Anthony Kraus Christopher Gillett’s recent Equally at home in the worlds Australian soprano Alexandra Mezzo-soprano Gaynor Keeble Born in North Wales, baritone Anthony Kraus studied Music operatic roles include Rev of opera and musical theatre, Hutton studied at the Sydney won scholarships to the David Kempster studied at the at Bristol University, where Adams and Flute A Midsummer James Holmes enjoys a wide- Conservatorium of Music and University of Warwick and the Royal Northern College of Music. he was organ scholar at the Night’s Dream (La Scala)‚ ranging career as conductor, the . She Royal Academy of Music. His many roles have included Guildhall School of Music & Curzio Le nozze di Figaro (ROH)‚ coach, accompanist and made her international operatic Operatic appearances include Escamillo in Carmen and Drama, and at the National Arnalta L’Incoronazione di arranger. Many years experience debut in January 2012 as Katisha in The Mikado for ENO Falke in Die Fledermaus for Opera Studio. At GSMD, he was Poppea (Los Angeles Opera) first with ENO and then with Papagena at the Deutsche Oper and for Carl Rosa in the USA Glyndebourne Opera, awarded the Ricordi Prize for and Evangelist The Christmas Opera North as head of music, Berlin and has been awarded a and Rome, Third Lady in Die Nottingham in Roberto Devereux Conducting. As a freelance Story (English Concert). saw him conduct a wide Franz Josef Weisweiler young Zauberflöte and Voice of the and Miller in Luisa Miller for conductor, accompanist and Concerts include Evangelist repertoire from Mozart to Britten, artist scholarship for the Mother in Tales of Hoffmann the Festival, Conte di organist, he has performed St Matthew Passion (RFH), including numerous broadcasts 2013–14 season. Other roles at House, Luna in Il Trovatore, Teddy widely in the UK and Henze’s Voices (BBC Proms; and important world and British include Blondchen in Die Mrs Sedley in Peter Grimes Foran in Mark Anthony throughout Europe, and was Concertgebouw)‚ Knussen’s premieres. He has appeared Entführung aus dem Serail with the CBSO, and Priscilla in Turnage’s The Silver Tassie for organist at St Paul’s Higglety Pigglety Pop! (BBC with many leading singers and (Iford Arts Festival), Mabel in the world premiere of Howard , and Knightsbridge, London, as well Proms; Cleveland) and also acted as assistant to Pirates of Penzance (Charles Goodall’s Silas Marner at Iago in Otello for Opera North as accompanist and assistant Andriesson’s De Materie (New numerous distinguished Court Opera), Marzelline in Salisbury Festival, among and Welsh National Opera. conductor for numerous London- York; Concertgebouw). Britten many others. conductors, notably . Fidelio (Opera Minima), Adele David made his US debut with based choirs. Among others, he concerts include in Le Comte Ory (Opera South) Gaynor’s recordings include Dallas Opera in Madame Butterfly has worked with English Touring (Philadelphia, Berlin)‚ Peter His concert career includes and Adina in L’elisir d’amore Osud, conducted by Charles and returned to sing Nottingham Opera, Almeida Opera, Opéra Grimes (New York) and War appearances with the Hallé, (Southgate Opera). She sang Mackerras for EMI, and HMS in Roberto Devereux. He has du Rhin (Strasbourg), Pesaro (Buenos Aires‚ LSO, CBSO, London Sinfonietta Miss Wordsworth in Albert Rossini Festival, English Amsterdam‚ Stuttgart‚ Berlin). and the Montreal Symphony, Pinafore, Patience and Yeomen also appeared in Manon Lescaut Herring at the Aldeburgh National Opera, Sinfonia Viva, alongside artists ranging from of the Guard for TER records. for Florida Grand Opera. Christopher has recorded the Britten Weekend in 2011. Northern Sinfonia and Leeds Willard White and Sally Burgess Recent and future engagements Recent and future engagements title roles in Albert Herring Festival Chorus. He is also to Patti Smith and Eartha Kitt. Alexandra created the role of include Mistress Quickly in include performances in Elgar’s and The Martyrdom of St Music Director for the British He is recognized as one of the Kirsty in the world premiere of Falstaff for Longborough The Apostles with the Hallé Magnus‚ as well as roles in Philharmonic Concert Orchestra. ‚ The Beggar’s Opera‚ world’s most experienced The Face, a crime thriller opera Festival Opera, Third Lady in Orchestra in Manchester and at Peter Grimes‚ Journey of the interpreters of Kurt Weill. This by Christopher Bowers- Die Zauberflöte and Annina in the BBC Proms, Madama He joined Opera North as Magi, Midsummer Night’s year he has been artist in Broadbent at Gray’s Inn Hall. La traviata for the Royal Opera Butterfly for Royal Danish Chorus Master in 2003, and is Dream‚ King Priam and operas residence for the international She recently made her concert House, Dame Hannah in Opera, Aïda at the Royal Albert currently assistant head of music. by Knussen and Tan Dun. Weill Festival in Dessau, the debut with the Royal Sullivan’s Ruddigore for Opera Hall, and Il Trovatore, Don For Opera North he has He is also the author of the composer’s birthplace, and was Philharmonic Orchestra in North, and Florence in Albert Giovanni, La Bohème, Manon conducted The Adventures of acclaimed book Who’s elected to the board of trustees Gorecki’s Symphony No.3 at Herring with the BBC Lescaut and Roberto Devereux Pinocchio, Ruddigore, Cautionary My Bottom? of the Kurt Weill Foundation. Cadogan Hall, London. Symphony Orchestra. for Welsh National Opera. Tales! and Don Giovanni.

Peter Grimes Booklet MORE PAGES.indd 38-39 01/07/2013 08:57 Robert Murray Alan Oke Charles Rice Stephen Richardson Henry Waddington Catherine Wyn-Rogers Robert Murray studied at the Alan Oke studied at the Royal Baritone Charles Rice studied Stephen Richardson studied at Bass Henry Waddington Catherine Wyn-Rogers was a Royal College of Music and the Scottish Academy of Music and at the Royal Academy of Music Manchester University and the studied at the Royal Northern foundation scholar at the Royal National Opera Studio. He was Drama and with Hans Hotter in and was a member of the RNCM. Recent and future College of Music. He has College of Music and worked a Jette Parker Young Artist at Munich. Following a successful National Opera Studio. He won engagements include Baron performed in many of the major with Diane Forlano. She the , Covent career as a baritone, he made the Garsington Prize in 2009. Ochs Der Rosenkavalier opera houses in the UK and appears regularly at the BBC Garden. Operatic roles include his debut as a tenor in 1992 (Bolshoi‚ Moscow)‚ Hobson Proms, the Wigmore Hall and Recent opera engagements Europe and his repertoire Tamino in Die Zauberflöte, singing Brighella in Ariadne auf (La Scala‚ ROH, Opera North)‚ with the Three Choirs, Edinburgh include Angelotti in Tosca for includes both major dramatic Reischmann in Henze’s Elegy Naxos for Garsington Opera. Daland The Flying Dutchman and Aldeburgh festivals. She Grange Park Opera, Guglielmo roles in Mozart and Verdi and for Young Lovers, Idamante in Since then he has sung a wide and Lady Bracknell The has performed with Slatkin, in Così fan tutte and the Vicar Quince and Bottom in A , Male Chorus in The variety of roles including Importance of Being Earnest Haitink, Andrew Davis, in Albert Herring, both for Royal Midsummer Night’s Dream. Rape of Lucretia, Tom Rakewell Rodolfo in La bohème, (Northern Ireland Opera and Colin Davis, Rozhdestvensky, Academy Opera. He has He has sung the role of in The Rake’s Progress and the Pinkerton in Madama Butterfly, Los Angeles), Flint Billy Budd Mackerras and Norrington. appeared as James in Pirates of Ratcliffe in Billy Budd with title role in Jephtha. He has Steva in Jenu°fa, Boris in Katya (Netherlands Opera)‚ Barry’s Penzance at Buxton and as the Schott and Sons‚ Mainz (Dublin) Netherlands Opera and English Catherine has sung with the appeared at the Royal Opera Kabanova and M.K. Gandhi in Cat in Stravinsky’s Renard for and Ferrando Il Trovatore National Opera. Henry appears Lyric Opera of Chicago, the House, English National Opera, . He has worked with the Glyndebourne Jerwood (Danish National Opera). regularly at the Glyndebourne Teatro alla Scala, Milan, Opera North, Welsh National Glyndebourne Festival Opera, Young Artist Programme. In Festival, most recently as Scottish Opera, Welsh National Opera, Norway Opera and the Opera North, English National Stephen created roles in Adès’s 2012 he sang Morales in the Christus in Bach’s St Matthew Opera, Opera North, the Teatro Salzburg Festival and has Opera and Canadian Opera (ROH); Tan Dun’s Raymond Gubbay production at Passion. He made his Wigmore Real Madrid, Netherlands performed in concert with Company, as well as appearing Orchestral Theatre II‚ Re‚ and Tea the Royal Albert Hall, and he Opera, Houston Grand Opera John Eliot Gardiner, Charles at the Edinburgh, Aldeburgh, (Suntory Hall‚ Tokyo); Barry’s Hall debut in 2007, singing took the role of Sid in English and at the Salzburg Festival. Mackerras and Emanuelle Haim. Bregenz and Ravenna festivals. The Triumph of Beauty and Haydn arias with the Classical Touring Opera’s Albert Herring. She sang under Mehta in both Recent and future engagements Deceit‚ The Importance of Being Opera Company. He has In 2012 he sang Mao in Nixon Valencia and Florence, and is include Essex in Gloriana at the Charles has received support Earnest and The Intelligence performed at the Salzburg and in China at the BBC Proms and a regular guest of the English Hamburg State Opera and from Opera North, the William Park; Tavener’s Eis Thanaton‚ Edinburgh festivals and made the Berlin Festival, and Caliban National Opera, the Royal concerts for the City of Allen Trust, the Kathleen Trust, Resurrection‚ The Apocalypse an international tour of in The Tempest for the Opera House, Covent Garden Birmingham Symphony Orchestra and the Josephine Baker Trust and Fall and Resurrection (St Handel’s Solomon with the . This year and the Bavarian State Opera. under Edward Gardner and and is a recipient of an Allcard Paul’s Cathedral) and the Orchestra of the Age of has seen him in The Minotaur Britten’s in Award from the Worshipful British premiere of Ruders’ The Enlightenment. Concert Engagements this season for the Royal Opera House and Aldeburgh. Recent recordings Company of Musicians and the Handmaid’s Tale (ENO). engagements include Berlioz’s include Das Rheingold in Lulu and The Cunning Little include excerpts from Britten’s Kohn Foundation vocal Recordings include Where the L’Enfance du Christ with BBC Munich and Deborah Warner’s Vixen for Welsh National Opera. Gloriana and Berlioz’s Grande scholarship. Wild Things Are‚ Purcell’s Ode National Orchestra of Wales and Messiah for Opéra de Lyon. She Messe des Morts and for the Birthday of Queen Mary‚ Wozzeck with the Philarmonia will make her debuts for the Mendelssohn’s Elijah with the A Midsummer Night’s Dream Orchestra under Esa-Pekka Glyndebourne Festival and the Gabrieli Consort. and Albert Herring. Salonen in Europe and the US. Metropolitan Opera next season.

Peter Grimes Booklet MORE PAGES.indd 40-41 01/07/2013 08:57 Aldeburgh Music: a place Long before arts organizations thought of engaging There is now a year-round programme of events The Aldeburgh World Orchestra, formed as part in education and supporting young artists, including an Easter Weekend, the Snape Proms of London 2012, brought together 119 of the of energy and inspiration Britten and Pears established both. They brought every night in August, and an annual weekend world’s finest young musicians from over different for music and the arts together international stars and emerging talent, celebration of the work of Benjamin Britten. 30 countries. It is the latest in a long line of including world-renowned figures such as There are concerts, dance performances and initiatives that makes Aldeburgh Music one the Fischer-Dieskau, Menuhin, community events taking place most weekends. world’s leading centres for emerging musical talent. The Britten–Pears legacy and Rostropovich, and young stars in the making Aldeburgh Residencies offer bespoke The composer Benjamin Britten was inspired by such as Söderström, Perahia and Bream. Nurturing talent, fulfilling potential development opportunities to established artists. the vast skies and moody seas of the Suffolk At first the Festival used local halls and Britten and Pears reveled in the isolation that The residencies enable individuals and coast – about as far east in England as you can churches but in 1967, Britten and Pears created enabled them to develop important collabora- ensembles to re-energize, create new work, study go. In 1948, along with the singer Peter Pears new repertoire, try out new partnerships, learn a permanent home at Snape by converting a tions, creating performances and works of art and writer Eric Crozier, he founded the new skills and explore cross-artform possibilities. Victorian maltings among the marshes of the away from the glare of – but profoundly Aldeburgh Festival in his home town by the . Within five years they had reclaimed influencing – the international music scene. North Sea. more buildings on the site to establish a centre The genius of place Building on these ideals, Aldeburgh Education for talented young musicians. – for the wider community; Aldeburgh Young When Britten and Pears converted a redundant This is the legacy behind the flourishing Musicians – for children of exceptional potential; malt-house at Snape into an 830-seat organization known today as Aldeburgh Music, the Britten–Pears Young Artist Programme (BPP) international concert hall, they realized that which now has a world-wide reputation as an for emerging professional musicians; and this magnificent site – set amid breath-taking outstanding year-round performance centre, and Aldeburgh Residencies for established artists, scenery alongside the River Alde – had the as a place where artists at all stages of their all provide opportunities to fully realize potential potential for even greater things. careers can stretch themselves, explore new and develop creative talents. In 2009 the Hoffmann Building was opened, ground and perform to an ever-growing audience. Continuing the legacy of Britten, who part of an expanded ‘creative campus’, which encouraged the breaking down of boundaries has strengthened our reputation as a meeting An international performance centre between amateur and professional, Aldeburgh point for the world’s most talented musicians. 2013 marks another major landmark – the The centrepiece of the Aldeburgh calendar is Music has inspired over 50 years of worldwide centenary celebrations of our founder the Aldeburgh Festival, held each June, which performances and events, involving the local Benjamin Britten, who was born in Lowestoft, encompasses opera, orchestral concerts, recitals, community as creators, performers and just up the coast, in 1913. Aldeburgh is the lectures and exhibitions. audiences. centre of a year of activity that will bring this In 2009 the brilliant French pianist Pierre- The BPP is the largest provider of performance remarkable story to the attention of a whole Laurent Aimard took over as artistic director. experience for international young professional new audience. The genius of this extraordinary Britten and Peter Pears by the River Alde Photographer: © Clive Strutt from his book With a character and atmosphere unlike any musicians in the UK, and runs short courses that place will finally be expressed as it ought – and Britten’s Suffolk Heritage Coast other centre for the arts, Aldeburgh is one of the bridge the gap between music college and a will enrich the musical landscape for decades highlights of the international festival calendar. successful career. to come.

Peter Grimes Booklet MORE PAGES.indd 42-43 01/07/2013 08:57 Recorded live at Concert Hall Friday 7 June & Sunday 9 June 2013 as part of the 66th Aldeburgh Festival

By arrangement with For Signum/Floating Earth Boosey & Hawkes Ltd, Engineer: Mike Hatch London (Floating Earth) Producer: Nick Parker For Aldeburgh Music Editor: Dave Rowell Jane Alexander Executive Producer: Steve Long Jane Bellingham

Marie Bennell Thanks to Nick Clark and the Philip Vile Emily Curwen Britten–Pears Foundation Lizzie Hale Chelsea Lawrence With grateful thanks to Cover photo

Bill Lloyd Arts Council England’s Jonathan Reekie Britten Centenary Fund Shoel Stadlen

Supported by a Silk Pearce Dan Whitfield Britten 100 award from the

www.aldeburgh.co.uk Britten–Pears Foundation Design

Peter Grimes Booklet MORE PAGES.indd 44 01/07/2013 08:57 Recorded live at Snape Maltings Concert Hall

SIGCD348 Friday 7 June & Sunday 9 June 2013 as part of the 66th Aldeburgh Festival

PETER GRIMES Charmian Bedford Second Niece PETE Robert Murray Bob Boles Henry Waddington Swallow Peter Grimes Op.33 (1945) Catherine Wyn-Rogers Mrs Sedley R G Montagu Slater Music Benjamin Britten Christopher Gillett Rev. Horace Adams RIM Text (1913–1976) Charles Rice Ned Keene Text Montagu Slater (1902–1956) Hobson

Stephen Richardson E

after The Borough S The Chorus of Opera North Steuart Bedford conductor with the Chorus of the Music Benjamin Britten Guildhall School of Music & Drama

Alan Oke Peter Grimes Benjamin Britten

Music Britten–Pears Orchestra Giselle Allen Ellen Orford David Kempster Captain Balstrode James Holmes assistant conductor S

E Gaynor Keeble Auntie Anthony Kraus chorus master Alexandra Hutton First Niece Lindy Tennent-Brown music staff Text RIM Montagu Slater Slater Montagu G R PETE

Signum Recordings Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom www.signumrecords.com

2013 Signum Records DDD SIGCD348 © 2013 Signum Records SIGCD348 24 bit digital recording 6 35212 03482 8 Design Silk Pearce Cover Philip Vile Inlay Hans Wild 1959, courtesy of the Britten–Pears Foundation

Peter Grimes CD Inlay AW.indd 2 01/07/2013 09:00