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Britten: A Midsummer Night's Dream
 
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Britten: A Midsummer Night's Dream [Box set]

~ Benjamin Britten (Composer)
5.0 out of 5 stars  See all reviews (2 customer reviews)
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Product details

  • Composer: Benjamin Britten
  • Audio CD (22 Mar 1990)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Format: Box set
  • Label: London
  • ASIN: B0000041WB
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 79,863 in Music (See Bestsellers in Music)

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    #27 in  Music > Jazz > Bebop > Trumpet

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Disc: 1
1. "Over hill, over dale" - Downside School, Purley, Choir Of, Emanuel School Wandsworth, Boys' Choir, Richard Dakin, John Pryor, Ian Wodehouse, Gordon Clark, Stephen Terry, London Symphony Orchestra, Benjamin Britten
2. "Oberon is passing fell and wrath" - Downside School, Purley, Choir Of, Emanuel School Wandsworth, Boys' Choir, Alfred Deller, Elizabeth Harwood, London Symphony Orchestra, Benjamin Britten
3. "Well, go thy way" - Alfred Deller, Stephen Terry, London Symphony Orchestra, Benjamin Britten
4. "How now my love?" - Peter Pears, Josephine Veasey, London Symphony Orchestra, Benjamin Britten
5. "Be it on lion, bear, or wolf, or bull" - Alfred Deller, Thomas Hemsley, Heather Harper, London Symphony Orchestra, Benjamin Britten
6. "Welcome wanderer!" - Alfred Deller, London Symphony Orchestra, Benjamin Britten
7. "Is all our company her?" - Norman Lumsden, Kenneth McDonald, Owen Brannigan, Keith Raggett, Robert Tear, David Kelly, London Symphony Orchestra, Benjamin Britten
8. "Fair love, you faint with wand'ring in the wood" - Peter Pears, Josephine Veasey, London Symphony Orchestra, Benjamin Britten
9. "Through the forest have I gone" - Stephen Terry, Josephine Veasey, London Symphony Orchestra, Benjamin Britten
10. "Stay, though thou kill me, sweet Demetrius" - Heather Harper, Thomas Hemsley, Peter Pears, Josephine Veasey, London Symphony Orchestra, Benjamin Britten
See all 20 tracks on this disc
Disc: 2
1. "Flower of this purple dye" - Alfred Deller, Stephen Terry, Peter Pears, Heather Harper, Thomas Hemsley, Josephine Veasey, London Symphony Orchestra, Benjamin Britten
2. "Puppet? Why so?" - Josephine Veasey, Heather Harper, Peter Pears, Thomas Hemsley, Stephen Terry, London Symphony Orchestra, Benjamin Britten
3. "This is thy negligence" - Alfred Deller, Stephen Terry, London Symphony Orchestra, Benjamin Britten
4. "Up and down, up and down" - Stephen Terry, Peter Pears, Thomas Hemsley, Heather Harper, Josephine Veasey, London Symphony Orchestra, Benjamin Britten
5. "On the ground, sleep sound" - Downside School, Purley, Choir Of, Emanuel School Wandsworth, Boys' Choir, London Symphony Orchestra, Benjamin Britten
6. "My gentle Robin, see'st thou this sweet sight?" - Alfred Deller, Elizabeth Harwood, Stephen Terry, London Symphony Orchestra, Benjamin Britten
7. "Helena! Hermi! Demetrius! Lysander!" - Thomas Hemsley, Peter Pears, Heather Harper, Josephine Veasey, London Symphony Orchestra, Benjamin Britten
8. "When my cue comes, call me" - Owen Brannigan, London Symphony Orchestra, Benjamin Britten
9. "Have you sent to Bottom's house?" - Norman Lumsden, Keith Raggett, Robert Tear, Kenneth McDonald, Owen Brannigan, David Kelly, London Symphony Orchestra, Benjamin Britten
10. "Now, fair Hippolyta" - John Shirley-Quirk, Helen Watts, Peter Pears, Thomas Hemsley, Heather Harper, Josephine Veasey, London Symphony Orchestra, Benjamin Britten
See all 21 tracks on this disc
On this CD:
  1. (A) Midsummer Night's Dream
    Composed by Benjamin Britten
    Performed by Downside School Boys' Choir, Emanuel School Boys' Choir
    with Alfred Deller, Elizabeth Harwood, Sir Peter Pears, Thomas Hemsley, Josephine Veasey, Heather Harper, John Shirley-Quirk, Helen Watts, Owen Brannigan, Norman Lumsden, Kenneth MacDonald, David Kelly, Robert Tear, Keith Raggett, Richard Dakin, John Prior, Ian Wodehouse, Gordon Clark, Stephen Terry
    Conducted by Benjamin Britten

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Customer Reviews

2 Reviews
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16 of 17 people found the following review helpful:
5.0 out of 5 stars MAGICAL PERFORMANCE: MAGICAL OPERA, 12 Nov 2005
By Klingsor Tristan (Suffolk) - See all my reviews
(TOP 500 REVIEWER)      
This was the first opera I ever saw live, during its initial London run a few months after the Aldeburgh premiere. I still carry vivid memories of that evening as a magical experience. And magic certainly lies at the heart of this entrancing (almost literally) piece.

From the sounds of the forest breathing in the opening string glissandos to the fairies' glittering benediction on Duke Theseus house at the end, Britten conjures a wonderful array of colours and pictures from his relatively modest orchestra. Each group of characters is given its own distinctive orchestral palette - strings with woodwinds predominate for the Lovers, the trombone fills in its fatter, comical tones when the Rustics appear, horns add a touch of regality for Theseus' court and the Fairies sparkle with the inspired combination of Purcellian harpsichord with harp and modern tuned percussion. Puck flits around with a sprightly trumpet always in tow (brilliantly played by William Lang on this recording).

But the piece is much deeper and more disturbing than all that surface magic suggests. Britten and Pears extracted one of the most successful of all Shakespearean librettos from the play. They managed to excise the whole of Shakespeare's First Act merely by the addition of their one and only original line ('Compelling thee to marry with Demetrius'). Thus the opera focuses even more than the play on the Wood and the misunderstandings, confusions, dreams, nightmares and, above all, the power of sleep that it brings to all the characters (including, of course, Oberon and Tytania despite their delusions of omnipotence). Sleep with its benign and malign effects was a preoccupation of Britten's throughout his career - from Les Illuminations and the Serenade through Let Us Sleep in War Requiem and Dormi nunc in the Cantata Misericordium to Aschenbach's Dionysian nightmare in Death in Venice. The deepest explorations, though, are contained in the contemporaneous Nocturne and here in the Dream.

The key to this is Act 2 of the opera and the four 'sleep' chords that open it and on which the whole structure is based. Between them they contain all 12 notes of the chromatic scale. But this is no serial piece. The implicit dissonances can certainly cloud the harmonic air at moments of crisis and conflict, but the key centres implied by each chord can also restore consonance again. And all four chords provide a healing benediction below Puck's 'Jack shall have Jill' prophesy at the end of the Act.

None of this takes away from the fact that this is, of course, a comedy - it merely serves, as in all great comedies, to deepen the human impact. Much of the opera is very funny - the lovers' confusions, the big quarrel scene and, naturally, much of the Rustics material. The Pyramus & Thisbe play has come in for its share of stick - too arch, too knowing, etc. - but I still find Britten's parodies of grand and bel canto operas funny, especially the way he takes the Michael out of Bellini and Donizetti.

This recording, under the composer's direction, has most things going for it, not least Britten's impeccable pacing of the score. The lovers are a mixed bunch: Veasey and Harper are excellent, Hemsley very good, but Pears is hopelessly miscast as Lysander. Flute was his part in the premiere and was probably the best part for him - he caught 'Oh sweet bully Bottom' perfectly. But he is frankly too old, too knowing and the wrong voice for the ardent young lover. Brannigan is by far the best Bottom on disc - as well as all the knockabout stuff, he captures the awe, the wonder and the sense of a life changed by his experiences to perfection in Bottom's Dream. The rest of the Rustics, ably led by Norman Lumsden's Peter Quince (J.R.Hartley, no less), are all worthy of their starring roles in the play as well as in their contributions to the rehearsals. The Fairies are a match for any of their rivals on disc. Deller may lack some of the darker, more menacing side of Oberon's character that James Bowman captures so well, but his singing of the ravishingly Purcellian 'I know a bank' is matchless. So, too the late Elizabeth Harwood in all Tytania's florid coloratura passages.

While Colin Davis and Richard Hickox produce performances of this many-layered opera that make for fascinating comparisons with this first recorded reading, these are still the yardstick discs of Britten's Dream.
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19 of 22 people found the following review helpful:
5.0 out of 5 stars Haunting and evocative...once heard never forgotten., 25 Feb 2002
By A Customer
As soon as you hear the glissandi double basses at the opening of this opera you will enter the world of Titania and Oberon.Britten captures this other worldliness by making Oberon a counter-tenor,a vocal quality both strange and powerful in this magical world. Childrens voices add to the atmosphere of delicacy; Puck circles the world and Titania -a high lyric soprano idles away with some of the most heart moving arias.
Britten's use of a small orcheatra creates all the varied colour needed for the fairy world and that of the mechanicals.
Midsummer Night's Dream is one of the best 'stories' there is and in the hands of Britten becomes even more 'fantastic'.I can't recommend it highly enough to someone who has never tried a Britten opera...you will be amazed!
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