Michael Tanner

Do I wish I’d gone to see Peter Grimes on the beach at Aldeburgh? No

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With a tidal wave of Peter Grimeses about to engulf us — performances in London, Birmingham and Leeds in September alone — there is also, from 5 September, the film of the celebrated Peter Grimes on Aldeburgh Beach at more than 80 cinemas in the UK.  The film was made in June during the three live performances that occasioned ecstatic reviews from all who saw and wrote about them. I didn’t go to any of them, for rather cowardly reasons. But now, having seen the film of the occasion, do I wish I had? Clearly the atmosphere must have been tremendous: the sound and smell of the sea, the threat of a storm, the being in almost precisely the spot the action takes place and a stone’s throw from where the opera was written — everything inciting a thrilled response. So does this skilfully filmed version add to our understanding and appreciation of a work which, though it is now part of the canon, does not have a settled place in opera lovers’ esteem? For me, no, though I don’t mean that it wasn’t worth doing, if only as a kind of celebration. I have a strong resistance to films of operas that take place in natural, actual surroundings, whether it’s that terrible film of Carmen, or Felsenstein’s Fidelio.

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(Photo: Aldeburgh Music)

That most elementary criticism of the operatic form, that people don’t go around singing in ‘real life’, so opera is impossibly artificial, gains some force when you see the  ocean (and hear it), the moon, and so on.  The set in this production by Tim Albery is a skilful blend of nature and artifice: when you see the whole acting space, it is composed of fishing boats on their side, ladders, wonky lampposts, the kind of thing you might expect in a traditional production.

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