Customer Reviews

Britten: Billy Budd ~ Hampson

5 star:		(7)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

My own bias: Melville lover. This is the only 20th century opera in English I've ever found really emotionally involving as a drama. It's a unique blend of 20th century sensibility and 20th century style with, somehow a 19th century flavor. Note how Billy's Act IV moonlight reflections on his execution set for the dawn is set to the same gentle rocking figure that Berlioz used for Hylas' lonely song in Les Troyens. I wonder whether it is even possible that Britten in 1950 could have known that Berlioz piece. The libretto by E. M. Forster and Eric Crozier is a wonderful humanizing of Melville's hard crystalline cerebral story of a good man confronting fathomless evil, and "having" to abet the evil by killing a purely good man for the "greater good" of his ship and country. They manage to get across a great deal of the complexity of Melville's short novel while adding opportunities for warmth and humor. And manage to make a slightly fatuous "Captain Vere has become a good man due to his contact with Billy" ending a reasonably acceptable conclusion even to someone like me who would prefer to leave the tale as Melville did, without that comforting thought.
Britten takes full advantage of every opportunity Forster and Crozier give him, setting scenes that move like good drama, with sweep and pace, and creates an unforgettable ending with the brass writing for Billy's hanging somehow dangling and twisting in the air with his body (never seen in either of the two productions I've seen) No need. Britten is both eyes and ears here.
I've never seen this 4-act version, just the 2-act revision
usually staged. Much was lost in the cutting. This recording is in really magnificent full throated sound with a very strong cast singing wonderfully and Kent Nagano never missing an opportunity for meaningfull phrasing. He instills, improbably but beautifully, a delicacy which is a perfect counterbalance to the vastness of the story and the orchestral force involved. I can see that i've gushed here. This recording deserves it. One of the treasures of my collection.

This is not only a magnificent opera; on this recording, it's a manificent-SOUNDING opera. The aural quality on these two discs is clear and crisp, putting the listener in the thick of it immediately. All of the performances are first-rate; Thomas Hampson strikes a fine balance between tragedy and bravery as Billy and his duets with Richard Van Allen (playing Dansker, Billy's shipmate and friend) are especially powerful. But the finest of the performances is unquestionably Anthony Rolfe Johnson's as Captain Vere; he's given a great role and he makes the most of it, showing all of the captain's anguish at the choices he knows he must make. This full version of the opera is the one to get and sets a high standard for future recordings.

The British prefer Britten operas not to be overly exciting, and even the composer's classic Decca recording of Billy Budd is much less dynamic than the premiere performance from 1951, which can still be heard in serviceable pirated mono (VAI). Kent Nagaon changed all that with this riveting live performance from 1997 with the Halle Orchestra, playing as if their lives depended on it. The full oppression and buried anger of the sailors is caught from the very first and builds with tremendous force to the moment when they witness, through frightening wordless agony, the hanging of Billy Budd.

Nagano conducts the original 4-act version, but his tempos are vigorous enough to capture the whole opera on 2 CDs (other recordings, even of the revised 2-act version, take three). Abetted by sonics that are super-charged with vitality, Nagaono papers over the stretches of less-than-compelling music that crop up, and he uses ever-shifting orchestral color to enliven the potential monotony of an all-male opera.

Of the leads, Rolfe-Johnson stands out for his haunted, emotionallly driven Vere, the best reading in dramatic terms since Pears premiered the role. Hampson doesn't sound as young as Simon Keenlyside on the Hickox set, or as charmistmatic and innocent as Thomas Uppmann at the premiere, but he is a great interpreter of this role, once you accept that he often sounds more like Thomas Hampson than a gang-pressed British sailor. Halfverson sings a dark Claggart with plenty of ocnviction, but there is wobble in his voice, and it clouds his diciton. The minor roles are sung very well; the chorus is the best on ecords.

Altogether, this is a riveting musical experience, and it should convert many American listeners to one of the masterpieces of opera in English, a work fully the equal and in some ways the superior to Peter Grimes, which is much better known in this country.

I consider this recording the prize of my opera collection. Billy Budd is an amazing, moving, beautiful opera that leaves the listener unconsciously holding his breath at the end. Britten's music never ceases to amaze me, and this is my personal favorite of all his works. Those already familiar with the opera may want to know that this is the four-act version. This recording is excellent in every way - the three star performers especially are perfect for their roles. Hampson sounds young, charming, handsome and joyful as Billy; he has a beautiful voice and skilled understanding of the music, text and character. Halfvarson is an amazingly evil, powerful, captivating Claggart. Rolfe Johnson sings Capt. Vere with a sensitivity that captures the listener's own emotions - when the orchestra finishes playing, we are left with him alone, the "sole earthly witness" and survivor. I can't say enough about this recording, or this wonderful opera!

I must admit that I am late in coming to this wonderful recording. I purchased the more recent Chandos recording led by Hickox that features Simon Keenlyside in the title role. That recording is wonderful and you may read my review thereof if you wish, but let us come to this equally fine reading of Britten's masterful score by Nagano and company. Here we find Billy Budd in it's original Four Act version. The added (or rather, subtracted) material brings with it a greater understnding of the characters, particularly Captain Vere and how his men perceive him, but is not necessary to the drama and was thusly omitted. The music is hauntingly beautiful and if you are familiar with the more commercialy available Two Act version, then the restored music found here will be a real treat. The singing is most excellent, particularly from Thomas Hampson in the title role. This wonderful baritone has the perfect tone quality for the role of Billy and his English declamation is superb. He is nicely foiled by the Claggart of Eric Halfvarson, whose dark, menacing tone rules the set when he is present. Caught between them as Vere is Anthony Rolfe Johnson. The Englishman's tenor is well-suited if a little light for Vere's high-lying line. The men of the ensemble sing magnificently and Nagano absolutely flies through the score, though the listener never feels that he is rushing, only that the action is leading to its inevitable, tragic end. Very highly recommended!

I appreciate this recording of Billy Budd as a historical document. The liner notes give insight into the original 1951 production and argue the strengths of the four-act version of the opera. We get to hear Captain Vere address the ship's crew before sailing into enemy waters, which motivates Billy's declaration of loyalty to him.

I feel, however, that this recording is lacking on several levels. Kent Nagano conducts the work at such a brisk pace that it feels like he was mandated to fit the work onto two CDs instead of three. Some scenes aren't given enough breath and breadth, like the 34-chord interlude after Billy's trial.

Thomas Hampson sings Billy with careful, attentive declamation but it doesn't sound like he is embodying the young, free-spirited sailor. Anthony Rolfe Johnson has a crystal-clear tone that doesn't suit Captain Vere. In the main action of the drama the captain is a world-wise commander and in the prologue/epilogue he is a world-weary old man. ARJ just sounds too youthful and robust for the role. Eric Halfvarson's Claggart is a constant distraction. His snarling bass has a wobbly shake instead of a vibrato, which grates to my ear.

This version might be worth borrowing from your library network, but the set to own is the Chandos release conducted by Richard Hickox. Each soloist is suited to his role, from ranking officer down to able seaman, and the dramatic pace is powerfully effective.

The most striking element in this recording is the drama. The story is timeless and Britten's music just adds to it. Nagano and the singers clearly tell this dramatic story. Hampson in the title roll is in top form as is Rolfe Johnson.

This is the original version of Britten's opera, and although much of it remained the same through the revision, I suppose those familiar with the more popular revised version will be surprised on several occasions (particularly by the extra material here). As for the question of which version is the better, an argument could be made that the original makes a little more narrative sense - certain central episodes come across as slightly better motivated. On the other hand, there is little doubt that the revision is dramatically tauter. In the end I suppose that those who feel that they only need a single version should go for the revised one (Hickox is the obvious choice); those who already count themselves as admirers of this fascinating, deeply engaging and rewarding opera, can rest assured that the original version is in (generally) safe hands on this release. The major difference is, I suppose, Captain Vere's big speech, which was excised, but there are actually plenty of others (someone who knows the revised version better than I do will certainly hear changed notes, slightly altered text, and the excision of certain passages that obstructed the flow of the music).

The singers are somewhat variable, but in general the rather substantial (all-male) cast acquits itself pretty well. Thomas Hampson is generally effective in the title role, but his singing is sometimes in fact a little rough, and he does not always succeed in creating an ideally convincing portrait. Anthony Rolfe Johnson takes a little time to warm up (the opera was recorded live), but when he does he is actually pretty superb. Eric Halvarson's menacing Claggart is thoroughly convincing, however, and most of the minor roles are splendidly cast.

The Hallé orchestra responds well under Kent Nagano, and there are many marvelously colorful passages. There is plenty of drama and urgency here as well (the speeds are overall on the quick side), but overall he doesn't quite manage to generate the kind of momentum or dramatic unity the opera ideally needs (speed is not by itself the way to do it). The chorus is sometimes a little bland as well - they do indeed generate some feisty power in the more rousing choral scenes, but lacks a little bite. Nonetheless this is a pretty good recording overall (I certainly do not wish to exaggerate my concerns), and it is definitely an important document. A last caveat: It would have been very helpful if Erato had provided some more detail on the exact changes between this and the revised version for those of us who don't know every detail of the opera by heart. Still, this remains a very recommendable release, and a must for fans of the composer in general and this opera in particular.

This performance (and it is that, in the truest sense of the term) is labeled the 'World Premiere of the Original Version' of BILLY BUDD, Benjamin Britten's complex, lushly beautiful and probing opera based on Herman Melville's story of a stammering sailor at the apex of the emotions of a devoted fellow crew, a Captain with a conscience, and a lusting Claggart. This recording presents the opera in its original four acts instead of two (the practice of today's opera companies) and while some might expect that fact to mean that the story to too drawn out, given the aspects of this recording the opera seems if anything condensed! Much of that is due to the extraordinary conducting of Kent Nagano who conducts the Halle orchestra and choruses in this live recording of a performance of the opera in 1997 at Bridgewater Hall in Manchester, England: the opera surges forth with some of the most exciting orchestral playing of this work in memory.

One may have favorites of those who have sung the tricky role of Billy Budd (Theodore Uppman, Sir Thomas Allen, Simon Keenlyside, Richard Stilwell, Nathan Gunn, Rod Gilfry, Bo Skovhus, and Teddy Tahu Rhodes), but the authority which Thomas Hampson brings to this role is amazing. Though there have been many fine Captain Veres, Anthony Rolfe Johnson seems to have captured that fine line between authority and compassion: his prologue is hauntingly beautiful. Yet even the small parts are well sung. But the star of this recording is the wholly satisfying orchestral presence as brought out by Kent Nagano. Even though the operaphile may have other recordings of this great masterpiece, this recording is a jewel that will enhance even more the appreciation of the genius of this work. Grady Harp, May 10