SEEN AND HEARD INTERNATIONAL

Harrison Birtwistle, Punch and Judy: Soloists,  English National Opera Orchestra /Leo Hussein. Young Vic, The Cut, Waterloo, 21.4 2008 (CC)


This was, quite simply, ENO at its very best. The decision to stage Punch at the Young Vic had repercussions over and above the full house. The audience here is very close to the stage indeed, bringing the visceral immedicacy of Birtwistle's writing to the fore, resulting in a simply unforgettable experience.

This is, amazingly, the fortieth anniversary of Birtwistle's first opera. The record company NMC recently reissued the sterling Atherton performance of this work (Ancora NMC D138). Relistening to the NMC a few months ago, I was struck by the parallel between Choregos' function as external narrator at the opening of the opera and that of the Animal Tamer at the start of Berg's Lulu. The parallel was even more strongly made here, with Ashley Holland as an excellent Choregos (arguably, and continuing that line of thought, the cardboard-cutout, comic strip Magistrate and Doctor could be seen as corollaries for the Captain and Doctor in Berg's Wozzeck ...) . The conductor for this performance, Leo Hussain (he conducts April 21 and 23; all the rest are under the direction of Edward Gardner) seemed at pains to emphasise the Stravinskian influence on Birtwistle' expression. Birtwistle, of course, takes Stravinskian acidity to extremes. Throughout, the  instrumental contributions were exemplary. Hussein's direction was crystal clear, lending a real sense of confidence to his players' delivery.

Violence is shown starkly and unapologetically (it was suggested in the programme that this production was unsuitable for under-16s). Stabbings, certainly, were remorseless, setting into relief Punch's simple post-mortem dance. There are moments of repose, though, and they make their mark all the more strongly because of the violent surroundings - I think particularly of the first Prayer, a plea for clement weather.

Andrew Shore, who has shown his excellence many a time at the Coliseum (a last-minute standing in for Alan Opie as Falstaff in October 2004 lingers long in the memory). As Punch, he was miraculous, especially given that this run represents his first traversal of the role (he returns as Faninal Rosenkavalier in May for ENO). He was matched in virtuosity by Gillian Keith's Pretty Polly. Keith not only looked the part - young, sweet, yet capable of the most sexually provocative behavior – but displayed astonishing vocal virtuosity. In June of this year Keith will take the part of Zerbinetta in Richard Strauss' Ariadne auf Naxos at the Royal Opera. On the present evidence, Strauss' part could have been written for her. The final pages of Punch and Judy, a love duet for Polly and Punch, were extraordinarily powerful.

The young American soprano Lucy Schaufer, although involved with ENO, was new to me and excelled as Judy, moving from the lyricism of her lullaby to the rapid-fire play of the immediately ensuing word-game with seeming ease. The Lawyer and Doctor on the NMC recording were taken by Philip Langridge and John Tomlinson respectively, no less. Here Graham Clark played the Lawyer deliciously, full of character. Graeme Broadbent was perhaps less suited to the part of the Doctor. Although he sang well, he looked rather awkward, as if not fully part of the ongoing drama.

The dry acoustic of the Young Vic made it hard work for the singers but added an approporate austerity to the procedings.  The staging (director Daniel Kramer) made full and appropriate use of the space available. It was explicitly circus-like, with the circular ring decorated from above by myriad-coloured lights. A tower held Pretty Polly, from which she could parade herself in the manner of a Soho tart, while a grave lingered at the back of the stage as a continual reminder of the black subject matter.

Birtwistle is the most significant British opera composer of his generation, as Punch's successors clearly show (Mask of Orpheus, Gawain and The Second Mrs Kong confirm this, though I have yet to see The Minotaur). Indeed, the more I experience his works, the more tempting it is to call Birtwistle the most significant British opera composer of the twentieth century, including Britten and Tippett. Ironically, perhaps, given the fact that Britten infamously walked out of the 1968 Aldeburgh premiere of Punch.

There performance on April 27^th will be broadcast on Radio 3 on June 21^st. Given the sold-out nature of this run, do make sure you tune-in in June. At the time of writing, the Young Vic website states that 12 pound gallery seats 'may' be available.

Colin Clarke


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