The OperaEnglish SynopsisSinopsis en Español
The Story
Fisherman Peter Grimes is a big man, a loner, a misfit, prone to violence in a village that refuses to understand or accept him. When his boy apprentice dies during a storm at sea, the villagers become suspicious. Was he simply negligent…or was it something worse? When his new apprentice is first discovered bruised and then falls off a cliff, the village sets off on a manhunt. Insane, raving, pursued by the mob, Grimes sails out to sea to meet his fate.
The Music
Inspired by the sea, the orchestral music is so astoundingly beautiful that the magnificent Sea Interludes are often performed by symphonies. Dramatic arias and brilliant choruses, intense as the battle waged between suspicion and truth, make Peter Grimes one of the most powerful masterpieces of English opera.
The Look
The salty smell and rustic look of small English fishing villages permeate our classic production. From the Boar Inn, to the Moot Hall, to the craggy and forbidding cliff on which Peter lives his solitary existence above the sea, the sets will draw you into this haunting story.
Cast Highlights
Anthony Dean Griffey, the Metropolitan Opera’s current Peter Grimes, returns to San Diego Opera as the complex and troubled fisherman, following his extraordinary Lennie in our 1999 Of Mice and Men. This classic production is by brilliant British stage director, John Copley, who began his stage career in 1949 as the Apprentice in the first Covent Garden production of Peter Grimes. Steuart Bedford, a longtime associate and friend of the composer, Benjamin Britten, brings true authenticity to this remarkable score.
The running time is approximately 3 hours, 15 minutes.
Prologue
During a coroner’s inquest at the town hall of the Borough in an English coastal village, lawyer Swallow questions a surly fisherman, Peter Grimes, about the death of his apprentice at sea during a storm. When Grimes carried the boy’s body ashore, he spoke abusively to Mrs. Sedley, a nosy neighbor in the crowd of gossips that quickly gathered. The townsfolk, listening to the testimony, are angered when Grimes reviles the woman anew from the witness stand. Ellen Orford, the local schoolmistress, testifies that she helped carry the boy’s body home, inciting the onlookers to further insinuations. Though Swallow rules the death accidental, he warns Grimes not to take on another boy unless he provides a woman to care for him. The fisherman replies that this is his intent, as soon as he can clear his name. When the hall empties, Ellen bids Grimes to have courage, promising to help him find a better life.
Act I, Scene 1
Several days later, as women are at work repairing nets, a group of fishermen head for the Boar, a tavern kept by Auntie, despite Bob Boles’ comments on the gin there. Balstrode, a retired skipper, spies a storm which inspires the villagers to express their dreads of the seas. From the harbor, Grimes calls for help to land his boat but only Balstrode and the apothecary, Ned Keene, lend him a hand. Keene tells Grimes he has found him a new apprentice at a workhouse and when the carrier, Hobson, refuses to fetch the lad in the face of local hostility toward Grimes, Ellen offers to go with him bringing forth additional reproaches from the villagers. Mrs. Sedley arranges a meeting with Keene at the Boar to obtain drugs that Hobson is to bring back that night. As the storm rises, the crowd fearfully disperses leaving Grimes with Balstrode, who tries to convince him to leave the village.
Act I, Scene 2
That night at the height of the storm, Auntie unwillingly admits Mrs. Sedley to the Boar. Rough-talking fishermen also arrive and when Auntie’s “nieces”, frightened by the gale, come downstairs, Boles gets into a fight with Balstrode over one of them. Keene reports that Hobson is delayed on his route, after which Grimes enters declaiming a poetic fantasy that mystifies the onlookers. To restore quiet, Balstrode leads a spirited sea chanty with the others joining in. Hobson and Ellen arrive with the new apprentice, and Grimes at once takes the lad back into the storm, not even giving him time to get warm or dry.
Act II, Scene 1
Outside the church during services, Ellen asks the new boy John about a bruise on his neck. Grimes comes to take the child to fish and when Ellen tells him he cannot buy peace by hard work, he strikes her and drags the boy off. Auntie, Keene and Boles see the incident and quickly inform the congregation, now leaving the church. Despite Ellen’s protests, Boles rallies a mob and leads it off to apprehend Grimes.
ACT II, Scene 2
At his hut, Grimes orders John to dress for work. Raving to himself, he imagines making enough money to marry Ellen, but his vision turns to the dead apprentice. As the mob is heard approaching, Grimes rushes John out the back door and, in his haste, the boy falls over a steep cliff. Grimes escapes and the villagers soon depart, except for Balstrode, who looks over the cliff. Clamping his pipe in his teeth, the old sea captain slowly begins to climb down.
ACT III, Scene 1
A few nights later, a dance is under way at the Moot Hall. Outside, Swallow and Keene flirt with Auntie’s nieces, after which Mrs. Sedley tries to interest Keene in a theory that Grimes has murdered his apprentice. The woman hides as the rector, Adams, bids his friends goodnight then sees Balstrode enter with Ellen, who is carrying the apprentice’s wet jersey. When they go, Mrs. Sedley calls for Swallow, who orders Grimes’ arrest.
ACT III, Scene 2
A few hours later, as the villagers shout his name in the distance, Grimes staggers in, raving. He scarcely notices Ellen and Balstrode when they arrive and try to comfort him but he understands when the captain tells him to sail out and sink his boat. Dawn breaks, and the Borough prepares its daily routine to the strains of the first chorus. Swallow mentions a coastguard report that a boat is sinking far out to sea. The matter arouses little comment, and the Borough continues its life, indifferent to what has happened; it is merely “the cold beginning of another day”.
PRÓLOGO
En un pueblo de la costa inglesa, el abogado forense Swallow tiene a su cargo una investigación en el ayuntamiento municipal. Swallow interroga a un pescador huraño, Peter Grimes, acerca de la muerte de su grumete en el mar durante una tormenta. Cuando Grimes llevaba el cuerpo del muchacho a tierra, había insultado a la Sra. Sedley, una vecina entrometida en la multitud de curiosos que se agrupó rápidamente. Los aldeanos escuchan el testimonio y se encolerizan cuando Grimes insulta a la mujer una vez más desde la tribuna. Ellen Orford, maestra de escuela local, declara que ayudó a cargar el cuerpo del muchacho a su casa; esto enciende aun más los ánimos de la gente, generando mayores insinuaciones en contra del pescador. Swallow determina que la muerte ha sido un accidente, pero prohibe a Grimes llevar a otro grumete, salvo que también lleve a una mujer que pueda cuidar al joven. El pescador responde que es ésta su intención en cuanto pueda quedar libre de todos los cargos. Cuando la sala queda vacía, Ellen pide a Grimes que tenga fuerza, y promete ayudarle a encontrar una mejor vida.
ACTO I, Escena 1
Varios días más tarde, mientras las mujeres se ocupan de remendar las redes de pesca, un grupo de pescadores se dirige al bar “el Jabalí”, una taberna administrada por Auntie, a pesar de los comentarios negativos de Bob Boles referentes a la ginebra que sirven en ese local. Balstrode, un capitán retirado, observa que se acerca una tormenta, la cual inspira a los pueblerinos a expresar su temor al mar. Desde el puerto, Grimes pide ayuda para llevar su barco de pesca a tierra pero sólo Balstrode y Ned Keene, el boticario, le ofrecen una mano. Keene informa a Grimes que le ha encontrado un nuevo grumete en un asilo de caridad. Cuando Hobson, el arriero, se niega a buscar al joven dada la hostilidad de los locales hacia Grimes, Ellen se ofrece para ir con él, lo cual provoca nuevos reproches por parte de la gente del pueblo. La Sra. Sedley organiza un encuentro con Keene en la taberna para obtener drogas que Hobson ha de traer esa noche. La tormenta avanza. La multitud, temerosa, se dispersa y deja a Grimes con Balstrode, quien trata de convencerlo de irse del pueblo.
ACTO I, Escena 2
Esa noche, en los momentos más fuertes de la tormenta, Auntie, de mala gana, deja pasar a la Sra. Sedley a la taberna. Llegan los pescadores y cuando las “sobrinas” de Auntie, asustadas por el viento, bajan a la taberna, Boles comienza a pelear con Balstrode por una de ellas. Keene comunica que Hobson se ha demorado en llegar, y Grimes entra a la taberna y recita una fantasía poética que deja desconcertados a los presentes. Para restablecer la calma, Balstrode canta una vivaz canción de mar y los demás lo acompañan. Hobson y Ellen llegan con el nuevo grumete, y Grimes inmediatamente lleva al joven al mar en la tormenta, sin darle tiempo siquiera de abrigarse o secarse.
ACTO II, Escena 1
Afuera de la iglesa durante el servicio religioso, Ellen pregunta al joven, John, acerca de unas contusiones en el cuello. Grimes llega y lleva al joven a pescar cuando Ellen le reprocha por su actitud con el muchacho, y le pide que sea más respetuoso. Grimes la golpea y se lleva arrastrando al muchacho. Auntie, Keene y Boles presencian el incidente e inmediatamente informan a la gente que se retira de la iglesa en ese momento. A pesar de las protestas de Ellen, Boles forma una banda y se marchan a detener a Grimes.
ACTO II, Escena 2
En su cabaña, Grimes ordena a John que se vista para ir a trabajar. Se imagina ganando suficiente dinero para casarse con Ellen, pero su visión se vuelve a la imagen del grumete muerto. Se escucha acercarse a la multitud y Grimes saca de prisa a John por la puerta de atrás y, en su apuro, el niño tropieza y cae por el acantilado. Grimes escapa y los aldeanos se dispersan, menos Balstrode, quien mira por encima del acantilado. Sujetando su pipa entre sus dientes, el viejo capitán de mar comienza a descender lentamente.
ACTO III, Escena 1
Unas noches después, ha comenzado un baile. Afuera del salón, Swallow y Keene coquetean con las sobrinas de Auntie. La Sra. Sedley intenta interesar a Keene en la teoría que Grimes ha asesinado a su nuevo grumete. La mujer se esconde mientras el párroco, Adams, se despide de sus amigos y luego ve entrar a Balstrode con Ellen, quien lleva en sus manos el jersey mojado del joven. Cuando se marchan, la Sra. Sedley llama a Swallow, quien ordena la captura de Grimes.
ACTO III, Escena 2
Pasan unas horas. Mientras los aldeanos gritan su nombre a la distancia, Grimes entra tambaleando y despotricando. Apenas nota la presencia de Ellen y Balstrode cuando llegan e intentan consolarlo, pero entiende cuando el capitán le dice que se haga a la mar y deje hundir su barco. Amanece, y los aldeanos preparan el quehacer diario al sonido del primer coro. Swallow menciona un informe del guardacostas avisando que un barco se hunde lejos en el mar. El asunto genera poco comentario, y el pueblo sigue su curso, indiferente a lo ocurrido; es, simplemente, “el frío comienzo de un día más”.
|
|
THE CAST
Please click an artist’s name to read more.
-
Peter Grimes
Anthony Dean Griffey
Peter Grimes
Anthony Dean Griffey
American tenor Anthony Dean Griffey made his San Diego Opera debut in 1999 as Lennie in Of Mice and Men, returned in 2000 as Mitch in A Streetcar Named Desire and sang a recital in 2002. In 2005 he made his Santa Fe Opera debut in the title role of Peter Grimes, a role he performed at the Metropolitan Opera in 2008, and also with Opéra National de Paris and the Glyndebourne Festival. Recent performances include Florestan in Fidelio with the Florentine Opera and Tito in La Clemenza di Tito with L’Opera de Montreal. Griffey performed Britten’s Spring Symphony with the Oslo Philharmonic, Beethoven’s Ninth Symphony with the Royal Scottish National Orchestra as well as Stravinsky’s Oedipus Rex and Mahler’s Eighth Symphony with the San Francisco Symphony. His recording credits include A Streetcar Named Desire, Of Mice and Men, I Lombardi and a DVD of the 1999 Metropolitan Opera production of Tristan und Isolde.
-
Ellen Orford
Jennifer Casey Cabot
Ellen Orford
Jennifer Casey Cabot
American soprano Jennifer Casey Cabot made her San Diego Opera debut in 2000 as Elvira in Don Giovanni, returned in 2001 as Pamina in The Magic Flute and in 2005 as Fiordiligi in Cosí fan tutte. Recent appearances include Konstanze in The Abduction from the Seraglio with both Miami Grand Opera and Boston Lyric Opera, Fiordiligi with Boston Lyric Opera, the Countess in The Marriage of Figaro in Hong Kong, and Violetta in La traviata with Central City Opera and New York City Opera. She made her New York City Opera debut as Donna Elvira and her Pittsburgh Opera debut as Pamina. Cabot was a resident solo artist at the Deutsche Opera Berlin and the Staatstheatre Braunschweig as well as a guest artist in Bern and at the Dresden Semperoper. She has enjoyed an equally varied career in recital and concert.
-
Captain Balstrode
Rod Gilfry
Captain Balstrode
Rod Gilfry
American baritone Rod Gilfry made his San Diego Opera debut in 1987 as Fiorello in The Barber of Seville, returned as Count Almaviva in The Marriage of Figaro in 1998 and as the Marquis of Posa in Don Carlo in 2004. Gilfrey has been seen in all the world’s music capitals including Vienna, Paris, London, Munich, Zurich, New York, Chicago, San Francisco and Los Angeles. He created the role of Stanley Kowalski in 1998 for A Street Named Desire with San Francisco Opera. He recently created his fifth world premiere role as Jack London in the Libby Larsen/Philip Littell opera Every Man Jack in Sonoma, California. Other recent appearances include Prospero in the American premiere of The Tempest with Santa Fe Opera, Nathan in the American premiere of Sophie’s Choice in Washington D.C., a role he created in London in 2002, and De Guiche in Cyrano de Bergerac with Los Angeles Opera. He has more than 23 audio and video recordings to his credit. The DVD and CD of his one man show, My Heart is So Full of You, has just been released.
-
Auntie
Judith Christin
Auntie
Judith Christin
American mezzo-soprano Judith Christin made her San Diego Opera debut in 1984 as Auntie in Peter Grimes, returning twice for both Faust and The Marriage of Figaro as well as Dialogues of the Carmelites, Cold Sassy Tree, The Barber of Seville, Boris Godunov and last season’s Cavalleria rusticana. Recent engagements include the Wife and the Owl in The Cunning Little Vixen at the Saito Kinen Festival in Japan where she also appeared as Berta in The Barber of Seville, Zita in Gianni Schicchi and Mrs. Sedley in Peter Grimes. Other roles include the Third Lady in The Magic Flute, Grandmother Burjya in Jenufa, Marcellina in The Marriage of Figaro and the Marquise De Birkenfeld in The Daughter of the Regiment. Christin has appeared in more than seventy roles with leading opera companies throughout the United States including San Francisco Opera, the Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, Santa Fe Opera and The Dallas Opera.
-
Swallow
John Del Carlo
Swallow
John Del Carlo
American bass-baritone John Del Carlo made his San Diego Opera debut as Pantalone in The Love for Three Oranges in 1978 returning frequently to sing Silvio in Pagliacci, Dr. Dulcamara in The Elixir of Love, Sulpice in The Daughter of the Regiment, Mustafa in The Italian Girl in Algiers in 1997 (which he subsequently recorded), Frank in Die Fledermaus in 2005 and other roles. Del Carlo made his Metropolitan Opera debut in 1993 as Kothner in Die Meistersinger von Nürnberg, returning for the title role of Don Pasquale, Swallow in Peter Grimes and Quince in A Midsummer Night’s Dream among other roles. He has appeared with Lyric Opera of Chicago, Seattle Opera, Houston Grand Opera, Los Angeles Opera, Washington National Opera, the Royal Opera House at Covent Garden and Opernhaus Zurich. He recently made his Opera National de Paris debut as Bartolo and his Gran Teatre del Liceu debut as Don Magnifico in Cinderella.
-
Mrs. Nabob Sedley
Janice Meyerson
Mrs. Nabob Sedley
Janice Meyerson
San Diego Opera debut. American mezzo-soprano Janice Meyerson’s recent performances include the Mayor’s Wife in Jenufa with Washington National Opera, Madame Raquin in the New York premiere of Thérèse Raquin with DiCapo Opera, the title role of Carmen with Montevideo Opera in Uruguay and the Old Prioress in Dialogues of the Carmelites with Kentucky Opera. Other appearances include Amneris in Aida with Téatro Colon in Buenos Aires, Santuzza in Cavalleria rusticana with New York City Opera, Carmen with Théâtre Royal de la Monnaie in Brussels, Herodias in Salome with L’Opéra de Montréal, Azucena in Il trovatore with Téatro Municipal in Rio de Janeiro, Suzuki in Madama Butterfly for Houston Grand Opera and Marfa Kabanicha in Katya Kabanova with Opera Ireland.
-
Bob Boles
Greg Fedderly
Bob Boles
Greg Fedderly
San Diego Opera debut. American tenor Greg Fedderly has had a long relationship with Los Angeles Opera where his roles have included the title role of Albert Herring, Rodolfo in La bohème, Don Ramiro in Cinderella, Fenton in Falstaff, Ernesto in Don Pasquale, Jacquino in Fidelio, Prunier in La Rondine, Pang in Turandot, Four Servants in The Tales of Hoffmann, Goro in Madama Butterfly and Basilio in The Marriage of Figaro. He made his Metropolitan debut in 2003 as Basilio, and has subsequently appeared as Goro, Four Servants, Valzacchi in Der Rosenkavalier and Monostatos in The Magic Flute. He made his San Francisco Opera debut in 2002 as Brighella and returned recently to sing Monostatos.
-
Rev. Horace Adam
Joseph Frank
Rev. Horace Adam
Joseph Frank
American tenor Joseph Frank has a long association with San Diego Opera since his debut here in 1979 as the Lamplighter in Manon Lescaut, returning in Tosca in 1981, Turandot in 1982 and 2004, Die Fledermaus in 1980 and 2005, Andréa Chenier in 1981, Peter Grimes in 1984, Madama Butterfly in 1989, Salome in 1998 and both Boris Godunov and Wozzeck in 2007. He made his San Francisco Opera debut as the Dancing Master in Manon Lescaut in 1974 and has since sung in over 80 roles. He made is Metropolitan Opera debut in 1979 as the Dancing Master in Ariadne auf Naxos. Recent engagements include Prince Orlofsky Die Fledermaus and The Marriage of Figaro for Austin Lyric Opera, La fanciulla del west, Tosca and the world premiere of Nicholas and Alexandra for Los Angeles Opera, Shuisky in Boris Godunov for Le Théâtre du Capitole Toulouse, Tosca and Turandot for San Francisco Opera, Turandot for Opera Pacific and Eugene Onegin for Baltimore Opera.
-
Ned Keene
Kristopher Irmiter
Ned Keene
Kristopher Irmiter
San Diego Opera debut. Recent engagements for this American baritone include T.J. Rigg in the world premiere of Elmer Gantry with Nashville Opera, Rucker Lattimore in Cold Sassy Tree and Capulet in Romeo and Juliet with Atlanta Opera, the title role of Don Giovanni with Opera Carolina, Escamillo in Carmen with San Francisco Opera, with Atlanta Opera, Arlington in the World Premiere of Wakonda’s Dream with Opera Omaha, and Mr. Redburn in Billy Budd with Pittsburgh Opera. He has also appeared with San Francisco Opera, Portland Opera, Utah Opera, Florida Grand Opera, Baltimore Opera, Hawaii Opera and Glimmerglass Opera.
-
Hobson
Andrew Collis
Hobson
Andrew Collis
Australian bass-baritone Andrew Collis made his San Diego Opera debut in 2005 as Colline in La bohème. Recent engagements include Bartolo in The Barber of Seville, Colline in La bohème and Mr. Flint in Billy Budd with Oper Köln, Mr. Flint and Dr. Kolenatý in Věc Makropulos for Opera Australia, Figaro in The Marriage of Figaro, Friar Lawrence in Romeo and Juliette and Frank in Die Fledermaus for Opera Queensland. He has been a member of Oper Köln since 1999 and has performed with the opera companies in Berlin, Frankfurt, Essen, Manheim and Düsseldorf, among others.
-
Conductor
Steuart Bedford
Conductor
Steuart Bedford
British conductor made his San Diego Opera debut with Albert Herring in 1991. Recognized today as one of the leading experts on the works of Benjamin Britten as a result of his work with the composer, he has conducted Britten’s operas around the world including the world premiere of Death in Venice in 1973. Notable recent engagements include The Picture of Dorian Gray at Florentine Opera, The Tale of Genji with the Opera Theatre of St. Louis, La traviata with New York City Opera and Vanessa with Oper du Rhin. His Mozart work has included conducting Idomeneo: King of Crete, Lucio Silla, The Magic Flute, Don Giovanni, La Finta Giardiniera, Cosí fan tutte and Il re pastore for Garsington Opera. Other recent performances include Thais with Boston Lyric Opera, Death in Venice with Teatro Colon, Peter Grimes with Royal Danish Opera, The Magic Flute with the Bolshoi Theatre, and The Turn of the Screw with Opéra Royale de Wallonie. He was artistic director of the highly acclaimed series of recordings “The Britten Edition” and appears on numerous recordings.
-
Director
John Copley
Director
John Copley
British stage director John Copley first appeared with San Diego Opera directing Eugene Onegin in 1985 (repeated in 1994) followed by The Marriage of Figaro in 1986 and 1992, La bohème in 1990, Così fan tutte in 1991, The Barber of Seville in 1993, Ariodante in 2002, Norma in 2003 and Julius Caesar in Egypt in 2006. He began his theatrical career performing the Apprentice in the first Covent Garden production of Peter Grimes in 1949. He joined the Royal Opera House, Covent Garden, in 1960 as Stage Manager of the Royal Opera, becoming Assistant Producer, and subsequently Principal Resident Producer. John Copley’s many Covent Garden productions have included Così fan tutte, Don Giovanni, La bohème, The Elixir of Love, Ariadne auf Naxos, Maria Stuarda, Lucrezia Borgia, Alceste and Semele. John Copley has worked with all of the major British opera companies and has directed with The Metropolitan Opera, the Bayerische Staatsoper in Munich, Opera Australia, New York City Opera, Canadian Opera, Lyric Opera of Chicago, and San Francisco Opera. Several of his productions are available on video including Julius Caesar in Egypt, Maria Stuarda, Adriana Lecouvreur, Tosca, La bohème, Lucrezia Borgia and Così fan tutte.
|