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Britten: The Turn of the Screw
 
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Britten: The Turn of the Screw

~ Benjamin Britten (Composer), Daniel Harding (Conductor), Mahler Chamber Orchestra (Orchestra), Joan Rodgers (Soprano, Vocals), Vivian Tierney (Soprano, Vocals), et al.
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Product details

  • Orchestra: Mahler Chamber Orchestra
  • Conductor: Daniel Harding
  • Composer: Benjamin Britten
  • Audio CD (1 Jul 2002)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Virgin Classics
  • ASIN: B0000646J2
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 121,656 in Music (See Bestsellers in Music)

    Popular in these categories:

    #6 in  Music > Classical Instrumental > Performers > A-Z > G-H > Harding, Daniel
    #29 in  Music > Opera & Vocal > Opera > By Composer > Operas-Complete > Britten

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Disc 1:

Extraits
Song TitleArtist Time Price
Listen  1. The Turn of the Screw Op. 54, ACT ONE: Prologue (Prologue)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 3:27£0.69
Listen  2. The Turn of the Screw Op. 54, ACT ONE: ThemeIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:04£0.69
Listen  3. The Turn of the Screw Op. 54, ACT ONE: Scene 1 : The Journey (Governess)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 2:12£0.69
Listen  4. The Turn of the Screw Op. 54, ACT ONE: Variation IIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding0:36£0.69
Listen  5. The Turn of the Screw Op. 54, ACT ONE: Scene 2 : The Welcome (Governess/Mrs. Grose/Miles/Flora)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 3:42£0.69
Listen  6. The Turn of the Screw Op. 54, ACT ONE: Variation IIIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding0:38£0.69
Listen  7. The Turn of the Screw Op. 54, ACT ONE: Scene 3 : The Letter (Governess/Mrs. Grose/Miles/Flora)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 2:58£0.69
Listen  8. The Turn of the Screw Op. 54, ACT ONE: Variation IIIIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:45£0.69
Listen  9. The Turn of the Screw Op. 54, ACT ONE: Scene 4 : The Tower (Governess/Quint)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 3:41£0.69
Listen10. The Turn of the Screw Op. 54, ACT ONE: Variation IVIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding0:24£0.69
Listen11. The Turn of the Screw Op. 54, ACT ONE: Scene 5 : The Window (Governess/Mrs. Grose/Miles/Flora/Quint)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 9:07£1.89
Listen12. The Turn of the Screw Op. 54, ACT ONE: Variation VIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:00£0.69
Listen13. The Turn of the Screw Op. 54, ACT ONE: Scene 6 : The Lesson (Governess/Miles/Flora)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 4:02£0.69
Listen14. The Turn of the Screw Op. 54, ACT ONE: Variation VIIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:20£0.69
Listen15. The Turn of the Screw Op. 54, ACT ONE: Scene 7 : The Lake (Governess/Miles/Flora)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 5:11£0.69
Listen16. The Turn of the Screw Op. 54, ACT ONE: Variation VIIIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:25£0.69
Listen17. The Turn of the Screw Op. 54, ACT ONE: Scene 8 : At Night (Governess/Mrs. Grose/Miles/Flora/Quint/Miss Jessel)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 9:44£1.89


Disc 2:

Extraits
Song TitleArtist Time Price
Listen  1. The Turn Of The Screw Op. 54, Act Two: Variation VIIIIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 4:44£0.69
Listen  2. The Turn of the Screw Op. 54, ACT TWO: Scene 1 : Colloquy and Soliloquy (Governess/Quint/Miss Jessel)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 4:21£0.69
Listen  3. The Turn of the Screw Op. 54, ACT TWO: Variation IXIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding0:55£0.69
Listen  4. The Turn of the Screw Op. 54, ACT TWO: Scene 2 : The Bells (Governess/Mrs. Grose/Miles/Flora)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 7:31£1.89
Listen  5. The Turn of the Screw Op. 54, ACT TWO: Variation XIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding0:31£0.69
Listen  6. The Turn of the Screw Op. 54, ACT TWO: Scene 3 : Miss Jessel (Governess/Miss Jessel)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 6:00£0.69
Listen  7. The Turn of the Screw Op. 54, ACT TWO: Variation XIIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:26£0.69
Listen  8. The Turn of the Screw Op. 54, ACT TWO: Scene 4 : The Bedroom (Governess/Miles/Quint)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 5:02£0.69
Listen  9. The Turn of the Screw Op. 54, ACT TWO: Variation XIIIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:22£0.69
Listen10. The Turn of the Screw Op. 54, ACT TWO: Scene 5 : Quint (Quint)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding0:54£0.69
Listen11. The Turn Of The Screw Op. 54, Act Two: Variation XIIIIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:07£0.69
Listen12. The Turn of the Screw Op. 54, ACT TWO: Scene 6 : The Piano (Governess/Mrs. Grose/Flora)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 3:14£0.69
Listen13. The Turn of the Screw Op. 54, ACT TWO: Variation XIVIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding0:36£0.69
Listen14. The Turn of the Screw Op. 54, ACT TWO: Scene 7 : Flora (Governess/Mrs. Grose/Flora/Miss Jessel)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 3:48£0.69
Listen15. The Turn of the Screw Op. 54, ACT TWO: Variation XVIan Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding 1:34£0.69
Listen16. The Turn of the Screw Op. 54, ACT TWO: Scene 8 : Miles (Governess/Mrs. Grose/Miles/Quint)Ian Bostridge/Joan Rodgers/Julian Leang/Caroline Wise/Jane Henschel/Vivian Tierney/Mahler Chamber Orchestra/Daniel Harding11:10£1.89



Product Description

Amazon.co.uk Review
Deborah Warner's 1997 staging of Britten's opera The Turn of the Screw was one of the few distinguished shows the Royal Opera managed to deliver during its time in purgatory and proved the genius of the young conductor Daniel Harding. When the show was revived in January 2002 with more or less the same cast it was even better.

Now it's been transferred to disc, just as on stage, but with outstanding solo-status European instrumentalists substituted for the Royal Opera players. Be amazed. This is a set of devastating strength, depth and appropriately neurotic energy. It isn't comfort listening but it does exactly as the title promises: the screw turns with relentless certainty, although at speed. The music seems to hurtle through its short scenes, with a sword-sharp definition and a fierceness that Britten would probably have thought as indecorous as the hard edge of the children (whose Victorian manners have been toughened up with 21st century insolence). Jane Henschel surpasses the tendency of Mrs Grose toward lawks-a-mercy caricature. Joan Rodgers is the complete governess: half-saint, half-sinner. And Ian Bostridge's supremely pale-but-interesting young poet of a Quint makes the most persuasive case for the (fatal) attraction of the character since Peter in 1954. As an historic document the Britten/Pears Decca recording is definitive, but these new Virgin discs are too: definitive of how the piece reads half a century on. A sure contender for the next round of awards. --Michael White


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10 of 11 people found the following review helpful:
5.0 out of 5 stars LIBERA NOS A MALO, 13 April 2005
By DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)      
A good many years ago I attended a performance of The Turn of the Screw with Pears as Quint. Enough recollection stays with me to put Bostridge into some sort of context, and the general quality of the rest of that staging was nowhere near in the class of what we have here. I also had the opportunity to hear Daniel Harding conduct a concert of standard fare by Wagner, Mahler and Beethoven in Berlin just under a year ago, and this set reinforces what I suspected at that time, namely that great things might be expected of Harding were he given a bigger challenge.

This performance is nothing short of electrifying so far as I'm concerned. Harding's very thrusting tempi are to my own taste, as the plot of this sinister and ambiguous story tumbles headlong through fear, panic and nightmare. Neither Bostridge as Quint nor Vivian Tierney as Miss Jessel try to sing in 'haunted-house' voices, nor should they in my opinion. In life both had obviously exercised personal human magnetism, however twisted or perverted Quint's personality might have been. Britten himself handles the sinister dimension through his vocal line and his orchestration, and he does not overdo it. Many years earlier Schubert had the sense and insight not to set the speeches of Goethe's Erlking to spooky music whereas Loewe did not, and interpreters should not try to force the issue here either. In any case no composer would give a bogeyman part to a tenor. Really this point is part and parcel of how one reads the story as a whole. Are Quint and Miss Jessel 'real' in the sense that you or I might have seen or heard them if we had turned up on the scene collecting for charity or in some such totally uninvolved capacity? The more 'real' they are in that sense the less they should be acted as fairground bogeys - the whole meaning of this story depends on the grip that Quint and Jessel retain on the children from the other side, and they gained that grip in the first place through being attractive human personalities in some sense. James quite explicitly refused to come off the fence as regards this, and just as explicitly said that it was for us to do our best with the question. I don't even believe that the admirable libretto by Myfanwy Piper comes off the fence either (nor should it), despite putting utterances into the mouths of the two and even giving them a ghostly dialogue - this could be perfectly well explained as dramatic licence, with the dead talking through their interaction in life as they might have been supposed to do while they still saw the sunlight. As for the rest, the Governess is a young, inexperienced and presumably nubile woman, Mrs Grose is an impressionable old biddy, and Miles is a boy on the verge of puberty, the very age most associated with recorded cases of poltergeists, telekinetic manifestations and other such problematical occurrences. What seems clear enough is that it was certainly not all just imagination or 'dreaming'. At the very least there was some kind of 'atmosphere' around the house of Bly, and I myself countenance no explanation that removes this great tale from the category of 'ghost story'.

One can nitpick in various ways if one wants to, but I don't given that I side with the production in respect of the major points of issue. Jane Henschel's voice is probably more suggestive of the Royal College of Music than of a simple uneducated countrywoman, but what really made a big impression on me was how successfully this production dealt with the practical problem of a 2-hour-plus music-drama in which there is only one resonant male voice, and that in a comparatively brief part. The fast underlying pulse contributes a lot to this particular success, I don't for a moment doubt. The youngsters do very well indeed, the orchestra, who I understand to be a handpicked group, perform quite brilliantly in a dazzlingly-written score, and the recording does them all justice.

The liner note is far better than many, but it irritated me a little through its pretentious tone. The material on the music itself is more what a BMus student might write to impress examiners rather than my idea of something that gives illumination to the listener. As regards the background, it is really quite insightful here and there despite a certain amount of psychobabble ('...a knowing innocent caught between a threatening lover and a stifling mother-figure is perhaps too down to earth...and ultimately too reductive in general') and sociobabble ('...he is at another level equally preoccupied with the issues of social control and oppression resulting from the imposition of sexuality as a controlling force in modern society - issues which are no less social for being presented in this oblique guise'). Where it does seem to me acute and to the point is in recognising the effects of a culture that met even the normal processes of sexuality with repression and with denial. That this must have been particularly stressful and confusing for a composer whose own inclinations were literally a crime if acted on in his day seems only too easy to imagine. That the tensions thus engendered were a powerful stimulus to his genius I do not doubt either, and his pain is our gain.

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