This is the strongest cast that I have ever heard for Peter Grimes. The sweet-toned tenor of Stuart Skelton in the title role reminded me of Peter Peers. Elza van den Heever is outstanding as Ellen, both dramatically and vocally. There is an excellent ensemble of supporting characters plus a huge chorus representing The Borough, which is really another character in this opera.
Director David Alden sets the opera in the 1940's. It almost seems de rigueur these days to set an opera in the period it was written rather than the period that the composer intended. In a grim tale, perhaps it is excusable to try to inject some light relief but, in my view, Alden makes the minor characters too grotesque. I kept on getting the feeling that I was watching Dylan's Llareggub rather than Crabbe's Borough. Auntie, the pub owner, is a cross-dresser in a pinstripe suit and Bud Flanagan fur coat. Her nieces, usually ladies of easy virtue, are robotic schoolgirls. This gives an unhealthy edge to the interest shown in them by Bob Boles and Ned Keene. Keene, the apothecary, is portrayed as a 1940's spiv, in keeping with the period setting. I have to admit that the grotesquery does come into its own in the superbly choreographed and sung set pieces such as "Old Joe has gone fishing" and "Grimes is at his exercise".
The set is expressionist. This works well in the sharply-angled dockside of Act II but it is less successful in other scenes. Act I is confusing since it takes place in a bare box with just a few trestle tables for scenery. The crucial scene where Grimes' apprentice is killed while climbing down the cliff from his hut is botched because the boy clearly has to climb up a ladder to get out of the hut. The street scene in Act III is like something out of The Cabinet of Dr Caligari.
I think that this film is the ENO's first venture into live screening for a cinema audience. Apparently, the director's previous experience is in making pop videos. There are lots of flashy camera angles but I was continually disconcerted by the fact that the camera kept on showing one character while another was singing.
Director David Alden sets the opera in the 1940's. It almost seems de rigueur these days to set an opera in the period it was written rather than the period that the composer intended. In a grim tale, perhaps it is excusable to try to inject some light relief but, in my view, Alden makes the minor characters too grotesque. I kept on getting the feeling that I was watching Dylan's Llareggub rather than Crabbe's Borough. Auntie, the pub owner, is a cross-dresser in a pinstripe suit and Bud Flanagan fur coat. Her nieces, usually ladies of easy virtue, are robotic schoolgirls. This gives an unhealthy edge to the interest shown in them by Bob Boles and Ned Keene. Keene, the apothecary, is portrayed as a 1940's spiv, in keeping with the period setting. I have to admit that the grotesquery does come into its own in the superbly choreographed and sung set pieces such as "Old Joe has gone fishing" and "Grimes is at his exercise".
The set is expressionist. This works well in the sharply-angled dockside of Act II but it is less successful in other scenes. Act I is confusing since it takes place in a bare box with just a few trestle tables for scenery. The crucial scene where Grimes' apprentice is killed while climbing down the cliff from his hut is botched because the boy clearly has to climb up a ladder to get out of the hut. The street scene in Act III is like something out of The Cabinet of Dr Caligari.
I think that this film is the ENO's first venture into live screening for a cinema audience. Apparently, the director's previous experience is in making pop videos. There are lots of flashy camera angles but I was continually disconcerted by the fact that the camera kept on showing one character while another was singing.