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Amazon.co.uk Review
Few composers this century have shocked their audience as consistently as Michael Tippett. Always one step ahead, he followed the lyricism of The Midsummer Marriage with the stark King Priam, which brings Homeric mythology tangibly and violently to life. Sound-wise, it is as stripped down as Tippett's music was to get; a mosaic of ideas and references which underpins the stage action remorselessly at every turn. This heightens the very human dimension of the drama, both in the interplay of characters on stage and in the obvious highpoints: Achilles's chilling war-cry which closes Act 2, or the trio of Hecuba, Andromache and Helen in Act 3--presenting the female response to war and destruction with heart-rending anguish. Recorded back in 1980, David Atherton's performance has lost nothing in sheer physical immediacy; the excellent cast, featuring Norman Bailey, Heather Harper and Yvonne Minton, projects the human tragedy with real intensity. A landmark recording of a great opera, still as sadly relevant today as ever. --Richard Whitehouse
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Most Helpful Customer Reviews
9 of 10 people found the following review helpful
Format:Audio CD
This 1995 Chandos CD re-issue of 'King Priam' is a transfer from the 1980 recording issued in 1981 (CHAN 9406/7). David Atherton conducts the London Sinfonietta and Chorus in an intense performance with Norman Bailey, Heather Harper and Yvonne Minton.
'Priam' views a well-known piece of Greek mythology through the prism of Jungian thought. It deals with the struggle for self-knowledge inherent in the struggle between impulses of war and peace. Given the threat of world events at the moment, a re-visiting of this extraordinary work feels highly appropriate.
Stylistically the opera (his second of five) marks a shift away from Tippett's early lyricism to a more astringent, atonal, ascetic sound world. It is a tough but highly rewarding work that points us towards the impending complexity of 'The Vision of St Augustine' and the subsequent intricate imagery of 'The Mask of Time'. As someone once remarked to me, "it is a late work, written comparatively early on!"
The last live performance of 'King Priam' was (I believe) by the Vlaamse Opera in 1996, produced by Tom Cairns and Aletta Collins - essentially the revised Opera North production of 1995. A new production will be presented in the Netherlands in Spring 2003 by the Nationale Reisopera and the Holland Symfonia, featuring David Wilson-Johnson in the title role. It would be good to have such a fresh account on CD. In the meantime this fine Chandos recording illustrates the enduring worth of Tippett's work.
8 of 10 people found the following review helpful
Format:Audio CD
After the euphonious lyricism of The Midsummer Marriage, Tippett's next opera King Priam seemed arid and terse. However, this approach was fitting for such a subject. The opening chorus is truly thrilling and throughout the work there are moments of visionary beauty. Now and again there is the odd embarrassment in the libretto but who care when the music is so strong.
2 of 3 people found the following review helpful
Format:Audio CD
The consecration of the new Coventry Cathedral in 1962 was responsible for Epstein's Michael & the Devil, Graham Sutherland's giant tapestry of Christ in Glory, John Piper's glorious baptistry window and the world premieres of both Britten's War Requiem and Tippett's King Priam - appropriately both were major anti-war pieces by pacifist composers. It would be hard to imagine such an outpouring of masterpieces (though, personally, I'm not sure about the Sutherland) in this day and age!
Such was the immediate success of Britten's piece, though, that Tippett's opera took a while longer to emerge from its shadow - which it eventually did through Sam Wannamaker's dramatic production at Covent Garden. And it had to wait nearly twenty years for this first recording.
The opera surprised, even shocked listeners at the time for it represented a marked change of style in Tippett's output. The soaring lyricism of his early period as heard in The Midsummer Marriage and which was largely based on the unique sound that Tippett could elicit from the upper strings, had been replaced by a much grittier, sparser, leaner sound with its foundations in the brass and woodwind. This was the start of what is usually recognised as the composer's middle-period and which led to works like the Concerto for Orchestra, The Vision of St. Augustine and The Knot Garden. In Priam it is a sound that grows out of the fanfares and alarums of war at the very beginning of the opera, but which also leads us to the striding piano chords that usually accompany Priam himself, the huntsmen's horns is Scene 2, Patroclus' solo horn and even to the flickering solo guitar of Achilles' campfire.
While War - specifically the Trojan War - provides the background for most of the action after Act 1, the opera is about much more personal themes as well. Principally it is about choice and the consequences of even the smallest choices we make, what Tippett himself called, "the mysterious nature of human choice". From the choice to kill a son prophesied to be responsible for his father's death, through the choice to re-admit him to the family, through that son's fatal choice in the Judgement of Paris, through Achilles choice to let Patroclus wear his armour and his later choice to allow a grieving father to take home the mutilated body of his eldest son, it is these choices that haunt the piece and which lead to the classically Aristotelian tragic catastrophe at the end.
As the opera's title suggests, it is King Priam himself and not the more familiar heroic characters of the Iliad who lies at the centre of the piece and, in this recording, he receives a towering, Wotanic performance from Norman Bailey. Bailey was always a master at penetrating to the human core of any character he played - whether the obstinate resoluteness of a Kutuzov, the bluff sympathy of a Balstrode, the unsentimental goodness of a Barak or the humanity underlying the godlike façade of a Wotan. So here he adumbrates all the facets of the title-role from kingly arrogance to a father's pitiful, grieving pleading. And the strong vocal lines sit firmly and powerfully in the heart of his distinctive and individual vocal colour.
The rest of the cast is a roll-call of the best English singers of the period (late 70's). Thomas Allen makes a strong forthright Hector, Philip Langridge a shifty but finally resolute Paris. Robert Tear is predictably sensitive to the words and shifting colours of Achilles' song of his homeland and to the growth of mutual grief when Priam begs for the return of his son's body, but lacks the last few ounces of heft for one of the most hair-raising moments in Twentieth Century opera - when the terrifying sound of Achilles' war-cry echoes across the plains from the Greek camp to the walls of Troy.
The three main women - Heather Harper, Felicity Palmer and Yvonne Minton - all sing and act wonderfully, making their big trio in Act 3 (which can outstay its welcome) into a highlight of this performance. The London Sinfonietta under David Atherton bring great clarity and acuity to the testing contrapuntal lines of this masterly score, well aided and abetted by the Decca engineers in the warm acoustics of the Kingsway Hall and by the Chandos re-mastering onto CD. This is still the only recording of an important opera in the Tippett canon, but it is hard to think of it being easily bettered.
Such was the immediate success of Britten's piece, though, that Tippett's opera took a while longer to emerge from its shadow - which it eventually did through Sam Wannamaker's dramatic production at Covent Garden. And it had to wait nearly twenty years for this first recording.
The opera surprised, even shocked listeners at the time for it represented a marked change of style in Tippett's output. The soaring lyricism of his early period as heard in The Midsummer Marriage and which was largely based on the unique sound that Tippett could elicit from the upper strings, had been replaced by a much grittier, sparser, leaner sound with its foundations in the brass and woodwind. This was the start of what is usually recognised as the composer's middle-period and which led to works like the Concerto for Orchestra, The Vision of St. Augustine and The Knot Garden. In Priam it is a sound that grows out of the fanfares and alarums of war at the very beginning of the opera, but which also leads us to the striding piano chords that usually accompany Priam himself, the huntsmen's horns is Scene 2, Patroclus' solo horn and even to the flickering solo guitar of Achilles' campfire.
While War - specifically the Trojan War - provides the background for most of the action after Act 1, the opera is about much more personal themes as well. Principally it is about choice and the consequences of even the smallest choices we make, what Tippett himself called, "the mysterious nature of human choice". From the choice to kill a son prophesied to be responsible for his father's death, through the choice to re-admit him to the family, through that son's fatal choice in the Judgement of Paris, through Achilles choice to let Patroclus wear his armour and his later choice to allow a grieving father to take home the mutilated body of his eldest son, it is these choices that haunt the piece and which lead to the classically Aristotelian tragic catastrophe at the end.
As the opera's title suggests, it is King Priam himself and not the more familiar heroic characters of the Iliad who lies at the centre of the piece and, in this recording, he receives a towering, Wotanic performance from Norman Bailey. Bailey was always a master at penetrating to the human core of any character he played - whether the obstinate resoluteness of a Kutuzov, the bluff sympathy of a Balstrode, the unsentimental goodness of a Barak or the humanity underlying the godlike façade of a Wotan. So here he adumbrates all the facets of the title-role from kingly arrogance to a father's pitiful, grieving pleading. And the strong vocal lines sit firmly and powerfully in the heart of his distinctive and individual vocal colour.
The rest of the cast is a roll-call of the best English singers of the period (late 70's). Thomas Allen makes a strong forthright Hector, Philip Langridge a shifty but finally resolute Paris. Robert Tear is predictably sensitive to the words and shifting colours of Achilles' song of his homeland and to the growth of mutual grief when Priam begs for the return of his son's body, but lacks the last few ounces of heft for one of the most hair-raising moments in Twentieth Century opera - when the terrifying sound of Achilles' war-cry echoes across the plains from the Greek camp to the walls of Troy.
The three main women - Heather Harper, Felicity Palmer and Yvonne Minton - all sing and act wonderfully, making their big trio in Act 3 (which can outstay its welcome) into a highlight of this performance. The London Sinfonietta under David Atherton bring great clarity and acuity to the testing contrapuntal lines of this masterly score, well aided and abetted by the Decca engineers in the warm acoustics of the Kingsway Hall and by the Chandos re-mastering onto CD. This is still the only recording of an important opera in the Tippett canon, but it is hard to think of it being easily bettered.
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