Customer Reviews

Lorin Maazel: 1984 (Royal Opera House)

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One would think 1984 outdated. But watching this video I was uncomfortably aware that it is quite contemporary. There have been some stunning performances in new operas this year. First, Gerald Finley in Doctor Atomic, then John Tomlinson in Minotaur. But Simon Keenlyside in 1984 walks away with the prize. It's a brutal part and he is on stage almost all the time. This is a performance for history. He totally embodies Winston - the prol who dares to hate Big Brother. He moves from early subdued protest, to action against the state, then he is totally broken through torture so that he is left one sole human being in love with Big Brother's on screen image. His immersion in Winston is so total that the torture scenes are almost impossible to watch. Now if only the vehicle were worthy of him. 1984 like the other two operas above is one hell of a production. It is well sung, well acted; the production is arresting. But where it counts in an opera - the music - there is let down. Maazel's score while dissonant in listenable. But it seldom grabs our attention. It is mostly subservient to the drama. We can debate words over music all we want a la Strauss' Capriccio. But who are we kidding? We go for the music, not the words. Too often Maazel seems to be spinning notes. And the piece could certainly use some major cutting. Two and a half hours is at least half an hour too long - some scenes and especially the monologues go on and on. In the end I do recommend this if only for Keenlyside's searing portrayal: that is for the history books.

Let me begin by saying that we all should be most grateful that Lorin Maazel did not grow up to be an accountant or lawyer. He is a musical genius and his opera "1984" is an excellent operatic gem that belongs in the standard repertory of any established opera company. Moreover, with some revision it has the potential to be one of the greatest operatic masterpieces of all time!

As it is this document of "1984" is blessed with star turns from each of the principles. Each of them, including Richard Margison as O'Brien, Nancy Gustafson as Julia, and Simon Keenlyside as Winston are true singing actors in the best sense of the term. But Keenlyside is a couple of cuts above the rest. Not since Sherrill Milnes have I seen any opera star that is such a phenomenol actor that s/he becomes the character. Keenlyside is such a talent that vocally and dramatically he becomes Winston. You are immediately taken in by his portrayel, and you stay convinced of it throughout the entire time he is on stage. This recording also provides us with luxury casting with Lawrence Brownlee in a supporting role, the voice of Jeremy Irons as the Narrator, and last but not least the composer himself on the podium. The chorus is excellent, the supporting roles are excellently done, the orchestra plays excellently for Maazel, and the production benefits from the genius who is Robert LePage as director.

As for the substance of the opera itself, it is on a par with the greatest operas of this genre (horror, distopia, etc.) such as "Wozzeck" and "Elektra." By this I mean that the combination of the sung and spoken word (the libretto), the musical score, the acting, and the sets all combine to create a convincing portrait of what the creator of "1984" was trying to get across. In this case, of course, a dyspepsic and distopian nightmare in which society is governed by a totalitarian regime, personified by O'Brien, with the means to get inside people's heads and thus deprive society of any hope of redemption. Don't believe the reviewers who claim that the music of "1984" is subpar, or otherwise mediocre. It cannot reasonably be deemed average or mediocre when it so powerfully and compelling gets its message across while providing such an entertaining evening. As such, Maazel's vision is an extraordinary achievement as the opera stands now.

The one thing that stops "1984" from being the absolute masterpiece that it could be is its length. It is simply too long. In fact, I would argue that one thing that makes operas like "Elektra" and "Wozzeck" so special is that they can be performed in one act which lasts anywhere from 90 minutes to an hour and three/quarters. This is important, for these masterworks are so violent and emotionally draining that performing them in such short time spans achieves the effect of "hitting an audience over the head," as it were for a brief period in which even the most attention challenged opera goer can focus entirely on the music and the drama without the distractions of tiredness or an intermission. It would therefore help "1984" tremendously if Mr. Maazel could revise the opera by making it "tighter" by transforming it into either a one act opera that takes under two hours, or a two-act opera, in which each act is no longer than 50-60 minutes. Again, doing so would transform "1984" from what it is now - an operatic treasure worthy of any opera company - into a masterpiece comparable to a "Wozzeck" or "Elektra." With such revision there is no reason to think that "1984" could not join the ranks of the truly immortal operas.

That said, the length of "1984" as it stands now should not influence anyone away from purchasing a copy of this important operatic document. Because this is a recording, one can always stop it when he or she feels it is getting too long, take a break, and go back to it. Trust me, if you are someone who can appreciate operas like "Elektra" and "Wozzeck," which are the spiritual ancestors and kin of "1984," and operas that have come after them, you will not be disappointed by Maazel's important contribution.

I am so glad someone wrote an opera based on Orwell's book 1984. It is a dark story but very timely. All the singers are excellent as is the music and performance. Maybe not a fun opera but very moving.