At its best, Peter Grimes is one of the most powerful works on the opera stage – and with a towering performance by Nicky Spence in the title role, this new production by Welsh National Opera comes incredibly close to that best. With a fine cast of principals, a robust chorus, and Tomas Hanus conducting an inspired orchestra, this is a Grimes to remember.
First performed at Sadler’s Wells in London as World War II ended in 1945, the opera marked a sea change in what was considered possible on the opera stage. It also heralded Benjamin Britten’s rightful recognition as a major composer.
Set in a small fishing village, Peter Grimes portrays a man who is deeply unpopular. Lacking tact and charm, his rough ways and thirst for profit have alienated many. Yet, he does have friends: Captain Balstrode admires his courage and independence, while the schoolteacher Ellen Orford wants to marry him. However, a young apprentice has died under mysterious circumstances while in Grimes’ care. When Grimes insists on replacing him with a boy from the workhouse, suspicion turns into a witch-hunt when the new apprentice disappears. Though we know the boy died in a tragic accident, the village indulges in a vigilante frenzy. Grimes’ only refuge is the sea itself.
While Peter Grimes features many significant roles, its success hinges on having a supreme actor/singer in the title role. Nicky Spence delivers just that. His portrayal of the loner and outcast is remarkable, offering a complex character who could be either a villain or a misunderstood scapegoat. This complexity makes the opera endlessly fascinating. Spence brings out Grimes’ tender side, more so than in many previous portrayals. In the third act, for instance, he and the boy play a stepping-stone game, subtly highlighting Grimes’ softer nature. When he explains the bruise that leads Ellen Orford to suspect abuse – “just rough and tumble” – his explanation feels more plausible than usual. And all the key musical moments are sublime, with “Now the Great Bear and Pleiades” standing out as particularly memorable.
Spence is ably supported by a star-studded cast in the other key roles. David Kempster gives a nuanced performance as the troubled but sympathetic Balstrode, who ultimately realizes he is powerless against the bloodthirsty fury of the villagers. Sally Matthews shines as the woman who loves Grimes but falters in her resolve. Sarah Connolly offers a forthright portrayal of Auntie, the pub landlady, and the quartet between Matthews, Connolly, and the “nieces” (Fflur Wyn and Eiry Price) is breathtaking in its beauty.
Director Melly Still ensures that the action flows smoothly, with a visually striking set. A wooden boat hangs above the stage, rotating to mirror Grimes’ shifting moods. The ropes and nets that adorn the beach of the fishing village are woven into the action, and a group of dancers representing the apprentices Grimes fails to save poignantly underscores the tragedy. The final image of Grimes walking hand-in-hand with the two dead boys towards the sea is nothing short of inspired.
Peter Grimes is undeniably one of the great modern operas, combining a gripping drama with music – both vocal and orchestral – of magical beauty. This brilliant production demonstrates that Welsh National Opera continues to deliver exceptional performances, despite the challenges the company faces. It was a particularly touching moment when the new co-CEOs of the beleaguered company, Adele Thomas and Sarah Crabtree, brought the entire WNO team on stage at the curtain call.
Wales Millennium Centre, Cardiff
Composer: Benjamin Britten
Libretto: Montague Slater
Director: Melly Still
Conductor: Tomas Hanus
Performers incl: Nicky Spence, Sally Matthews, Davis Kempster, Sarah Connolly
Running time: 3 hrs 10 minutes
Dates: various venues until 7 June
Photo credit Dafydd Owen