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Britten, The Turn of the Screw: Soloists,  Orchestra National Bordeaux Aquitaine. Conductor: Jane Glover. Grand.Théâtre de Bordeaux. 30.11.2008 (JMI)

New Production:

Direction: Dominique Pitoiset.
Sets: Dominique Pitoiset.
Costumes: Nathalie Prats.
Lighting. Christophe Pitoiset.

Cast:

The Governess: Mireille Delunsch.
Mrs. Grose: Hanna Schaer.
Quint/Prologue: Paul Agnew.
Miss Jessell: Cecile Perrin.
Flora: Morgane Collomb.
Miles: Louis-Alexander Désiré.


During the past few years Benjamin Britten  has acquired enormous importance in the world of the opera. His operas are nowadays the most performed among the works of the composers from the second half of 20^th century. Personally, I find that whenever I attend a Britten opera  I always  leave the theatre  impressed by the greatness of his music and his  enormous dramatic capacity. The last occasion was a few months ago  in a spectacular production of Death in Venice at Barcelona Liceu. This Turn of the Screw was another , Britten triumph and in Bordeaux too, a place mostly devoted to  grand opera.

This chamber opera, written for 13 musicians, is an authentic jewel and one of the  most  original works ever composed to my mind. Opera  Bordeaux has had one of its greatest successes with it in an extraordinary performance in every sense.

The staging   is a new production, to be toured in December throughout Aquitaine. Both sets and direction are by Dominique Pitoiset whose  direction is very good, particularly when working with  the children, and he creates an unreal and very special atmosphere using only a few elements. The single set consist of a big room, with just a table, a writing desk and a modern armchair (the action is moved to the sixties), with a  large window at the back.  Through the window a brick wall and some trees can be seen and closer to the window there is a large swing in the terrace. The appearances of Quint, the entrance of Miss Jessel by the stalls, the final scene and, mainly, the scene with the piano   in which Miles is simply astonishing, are only a few examples of great stage work. This is a production that proves that you don’t need lots of money to provide soemthing outstanding. There are excellent costumes, especially for the children, and good light, although this is somewhat fittingly subdued. It is true that Mr. Pitoiset had great actors at his disposal, but he  certainly takes full advantage of all of their abilities.

The English conductor Jane Glover delivered some extraordinary work. She is frequently associated with  much baroque and classical operas, but her  involvement with Britten was  total. Everything was  perfectly controlled; there was maximum tension, lyricism in abundance, everything that can be asked for in fact. I have never listened as closely to the Orchestra National Bordeaux Aquitaine as on this occasion. The group was  only a part of the complete orchestra of course, but those who played were  a perfect choice.

Mireille Delunsch is an outstanding artist, who shines with her own light when she is in her right  repertoire, which is not  always the case. Here she was an exceptional Governess;  very good at all times, but it is no exaggeration to say that she had the audience breathless during her last scene with Miles.

Hanna Schaer was a remarkable Mrs. Grose, although she was not at the same vocal level than Ms. Delunsch. Still, she was a very fine interpreter and I believe that this was the best performance I ever have seen from her.

Paul Agnew was very well-cast Quint. From his first appearance in a high side box (the supposed tower of the libretto) he instantly became an enigmatic and diabolic character. Miss Jessel,  sung by Cecile Perrin and she was also good, although rather –voiced  in her upper register.

There were an exceptional stage performances from both of thechildren, particularly from Miles,  played by the 13 year old  boy  Louis-Alexander Désiré. In the piano scene it seemed as though he was  actually playing the music himself. Incredible. Flora was the 16 year old  Morgane Collomb and she was also very good, although slightly  in the shade compared with Miles.

The theater had some empty seats but the final audience reaction was a real triumph, mainly for the children, Delunsch and Jane Glover. Mireille Delunsch  seemed happy at the final bows and there were very many reasons why she should have been.

José M. Irurzun


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