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Customer Reviews
Most Helpful Customer Reviews
14 of 17 people found the following review helpful
Format:Audio CD
A tremendous new recording, made at a live performance at the Barbican, London, of Britten's Billy Budd. A very strong cast, with Bostridge as Starry Vere, means that it is a pleasure from beginning to end. I was there at the performance, and although it was a concert performance (rather than a staged one) it was completely draining in its emotional intensity. Makes you realise what a great composer Britten was.
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4 of 5 people found the following review helpful
Format:Audio CD
Billy Budd : peut-être le meilleur opéra de ce compositeur et dans une interprétation aussi distanciée qu'exacte
Most Helpful Customer Reviews on Amazon.com (beta)
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4 reviews
15 of 15 people found the following review helpful
An outstanding 'Billy Budd' if you can get past a miscast Bostridge
15 Oct 2008
Format:Audio CD
I doubt that even the beloved Britten himself could have prompted EMI to front money for a new studio recording of his masterpiece, 'Billy Budd,' but recording a concert performance from London's Barbican Hall last December has paid off artistically. Daniel Harding's leadership of the London Sym. is electrifying, and the whole cast seems inspired by the occasion (even more so than on Kent Nagano's exceptionally fine version on Erato, also done in concert, with the Halle Orch.). I have never heard the score played better, and any lover of this opera can feel confident that wonderful things happen on the podium -- a five-star account on that score.
Also satisfying is Billy Budd himself as sung by Nathan Gunn. The role of the 'handsome sailor' is ambiguously positioned between beauty as a spiritual quality (Billy as Christ-like) and a sexual one (Billy as Eros). Gunn is one of the new breed of physically compelling singers who fit the erotic aspect, and he also has a light, flexible voice that sounds more youthful and innocent than either Peter Glossop, who sings the role under Britten's baton (Decca) or Thomas Hampson (for Nagano). Critics may find that Gunn's voice lacks 'face,' and for sheer volume and beauty of tone he can't match Hampson; even so, he is musical and touching.
His tormentor and anguished secret admirer, Claggart, is turned into a snarling, barrel-voiced sadist by Gidon Saks, a power-house basso profundo. As much as I'd prefer to hear a more shaded characterization, Saks creates a powerful melodramatic effect. Which brings us to the third leg of the tripod, Captain Vere, who sees Billy in spiritual terms but feels compelled to sentence him to death. The singer for whom the part was written, Peter Pears, could encompass many shades of psychological tension, and in his way so could Pears's latter-day replacement, Ian Bostridge, under the right conditions. Unfortunately, good as he was as Quint in Harding's great 'Turn of the Screw,' Bostridge is seriously miscast here.
The voice is perpetually juvenile, and that doesn't work for either side of Vere: the commanding figure who inspires his men in battle or the aged Vere recalling the tale in a state of tortued guilt. Bostridge sounds like the cabin boy dressed up in an officer's uniform. The poignancy and force of Vere's apotheosis in the final minutes of the opera just don't come across. If you can get past this problem, as I couldn't, he has much to offer. All the minor roles are taken by exemplary English stalwarts, and the chorus is exceptionally fine, the best on any rendition.
Virgin/EMI's sound is close-up and very clear, allowing us to hear E.M. Forster's literate -- and literary -- libretto. For 'Billy Budd' aficionados, this is the revised two-act version rather than the original four-act one, which was too bellicose for the pacifist Pears. Frankly, I think the aciton needs the omitted patriotic displays, so I prize the Nagano set, which reverts back to the original score, before Pears convinced Britten to revise it.
There hasn't been a bad 'Billy Budd' since the premiere in 1951 (you can hear an air-check on VAI), so this new one joins a golden tradition. For me, it earns its place on the shelf largely due to Harding's inspired conducting, and the cast admirably carries out his intentions. If only EMI hadn't spread the opera out over three discs.
Also satisfying is Billy Budd himself as sung by Nathan Gunn. The role of the 'handsome sailor' is ambiguously positioned between beauty as a spiritual quality (Billy as Christ-like) and a sexual one (Billy as Eros). Gunn is one of the new breed of physically compelling singers who fit the erotic aspect, and he also has a light, flexible voice that sounds more youthful and innocent than either Peter Glossop, who sings the role under Britten's baton (Decca) or Thomas Hampson (for Nagano). Critics may find that Gunn's voice lacks 'face,' and for sheer volume and beauty of tone he can't match Hampson; even so, he is musical and touching.
His tormentor and anguished secret admirer, Claggart, is turned into a snarling, barrel-voiced sadist by Gidon Saks, a power-house basso profundo. As much as I'd prefer to hear a more shaded characterization, Saks creates a powerful melodramatic effect. Which brings us to the third leg of the tripod, Captain Vere, who sees Billy in spiritual terms but feels compelled to sentence him to death. The singer for whom the part was written, Peter Pears, could encompass many shades of psychological tension, and in his way so could Pears's latter-day replacement, Ian Bostridge, under the right conditions. Unfortunately, good as he was as Quint in Harding's great 'Turn of the Screw,' Bostridge is seriously miscast here.
The voice is perpetually juvenile, and that doesn't work for either side of Vere: the commanding figure who inspires his men in battle or the aged Vere recalling the tale in a state of tortued guilt. Bostridge sounds like the cabin boy dressed up in an officer's uniform. The poignancy and force of Vere's apotheosis in the final minutes of the opera just don't come across. If you can get past this problem, as I couldn't, he has much to offer. All the minor roles are taken by exemplary English stalwarts, and the chorus is exceptionally fine, the best on any rendition.
Virgin/EMI's sound is close-up and very clear, allowing us to hear E.M. Forster's literate -- and literary -- libretto. For 'Billy Budd' aficionados, this is the revised two-act version rather than the original four-act one, which was too bellicose for the pacifist Pears. Frankly, I think the aciton needs the omitted patriotic displays, so I prize the Nagano set, which reverts back to the original score, before Pears convinced Britten to revise it.
There hasn't been a bad 'Billy Budd' since the premiere in 1951 (you can hear an air-check on VAI), so this new one joins a golden tradition. For me, it earns its place on the shelf largely due to Harding's inspired conducting, and the cast admirably carries out his intentions. If only EMI hadn't spread the opera out over three discs.
7 of 8 people found the following review helpful
Another Demonstration of The Importance of BILLY BUDD
10 May 2009
Format:Audio CD
Benjamin Britten's operas continue to grow in popularity as audiences around the world appreciate the extraordinary craftsmanship of his music dramas. There are few opera houses who do not have productions of many of Britten's more popular works - PETER GRIMES, BILLY BUDD, MIDSUMMER NIGHT'S DREAM, TURN OF THE SCREW, ALBERT HERRING, DEATH IN VENICE - in the standard repertoire. This particular recording of a live performance of BILLY BUDD will add to the growing audience appreciation of just how great Britten's gifts were.
The recording may be live, but the acoustic is rich and sounds as if the performance were captured in a fine sound studio. Daniel Harding conducts the London Symphony Orchestra and Chorus with a propelling dramatic force without forgetting the poetry inherent in EM Forster's and Eric Crozier's libretto based on Melville's story. For this listener the cast is brilliant. Nathan Gunn finds just the right balance between the 'innocent fool' and the idealistic, vulnerable hero. His voice is secure and eloquent in the Billy o' the Darbies sequence. Gidon Saks as Claggart, the lustfully confused but evil villain, is dark of voice and demeanor. The trio of officers who gather in Captain Vere's cabin (Neal Davies, Jonathan Lemalu, Matthew Rose) sing well both individually and together. Ian Bostridge as Captain Vere is such a solid musician that if his presence as the tortured Captain doesn't destroy the listener as much as his predecessors, the quality of his singing is so technically perfect that the character can be forgiven the usual power of personality. The male chorus and orchestra are simply splendid.
Even though the listener may have other recordings of this great work, this recording is so rich musically and dramatically that it should be placed along the other versions with equal quality. Highly recommended. Grady Harp, May 09
The recording may be live, but the acoustic is rich and sounds as if the performance were captured in a fine sound studio. Daniel Harding conducts the London Symphony Orchestra and Chorus with a propelling dramatic force without forgetting the poetry inherent in EM Forster's and Eric Crozier's libretto based on Melville's story. For this listener the cast is brilliant. Nathan Gunn finds just the right balance between the 'innocent fool' and the idealistic, vulnerable hero. His voice is secure and eloquent in the Billy o' the Darbies sequence. Gidon Saks as Claggart, the lustfully confused but evil villain, is dark of voice and demeanor. The trio of officers who gather in Captain Vere's cabin (Neal Davies, Jonathan Lemalu, Matthew Rose) sing well both individually and together. Ian Bostridge as Captain Vere is such a solid musician that if his presence as the tortured Captain doesn't destroy the listener as much as his predecessors, the quality of his singing is so technically perfect that the character can be forgiven the usual power of personality. The male chorus and orchestra are simply splendid.
Even though the listener may have other recordings of this great work, this recording is so rich musically and dramatically that it should be placed along the other versions with equal quality. Highly recommended. Grady Harp, May 09
2 of 2 people found the following review helpful
The Best Recording of Billy Budd!
23 Mar 2012
Format:Audio CD|Amazon Verified Purchase
From the moment I started to listen to this recording I was blown away by its power, beauty, tone and the stellar musicianship of ALL its artists. Harding accomplishes a musical miracle through his pacing and the beauty of tone and degree of nuance that he causes the ear to hear. ALL the singers, even those in secondary roles are well above average. Specifically, Bostridge as Vere, Nathan Gunn as Budd and Gidon Saks as Claggart are vocally and drammatically impeccable.
The sound produced by the London Symphony players is luscious and engaging.
This is the third recording of Billy Budd that I own, the other two are Britten's own recording with Peter Pears as Vere, and Glossop as Budd, and Nagano's pacing of the four act original version with Rolfe Johnson as Vere and Hampson as Budd. Although Rolfe Johnson and Hampson are more to my tastes in these roles, the overall performance on that recording is not as good as the one under Harding is.
One of the other revewers has taken exception to Bostridge's sound as Vere. I do not agree. I feel Bostridge's high, light, but full-bodied, tenor, especially when informed by Bostridge's impeccable musicianship, does tremendous justice to the role of Vere. Indeed, Bostridge manages to convey all aspects of Vere's character and pathos admirably.
If you do not own a recording of "Billy Budd," this is the one to get. Even if you do own Billy Budd, this one will be a most welcome addition to your audio library.
The sound produced by the London Symphony players is luscious and engaging.
This is the third recording of Billy Budd that I own, the other two are Britten's own recording with Peter Pears as Vere, and Glossop as Budd, and Nagano's pacing of the four act original version with Rolfe Johnson as Vere and Hampson as Budd. Although Rolfe Johnson and Hampson are more to my tastes in these roles, the overall performance on that recording is not as good as the one under Harding is.
One of the other revewers has taken exception to Bostridge's sound as Vere. I do not agree. I feel Bostridge's high, light, but full-bodied, tenor, especially when informed by Bostridge's impeccable musicianship, does tremendous justice to the role of Vere. Indeed, Bostridge manages to convey all aspects of Vere's character and pathos admirably.
If you do not own a recording of "Billy Budd," this is the one to get. Even if you do own Billy Budd, this one will be a most welcome addition to your audio library.
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