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Munich.(Billy Budd)(Opera Review)

Opera News

| April 01, 2005 | Leipsic, Jeffrey A. | COPYRIGHT 2005 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

On January 15, more than fifty-three years after the world premiere of Benjamin Britten's Billy Budd, Bavarian State Opera mounted its first-ever performances of the work, given in the 1951 original version. Not even Munich's ill-advised production could hinder this premiere's enormous success, its musical accomplishments easily overshadowing director Peter Mussbach's muddled interpretation.

Taking Billy Budd out of its historical time frame is asking for trouble, as there are so many references in the E.M. Forster/Eric Crozier text to exact time and place; Vere's "centuries ago" in the Epilogue is surely a hyperbole! Nonetheless, designer Erich Wonder moved the story several centuries forward, transforming the Indomitable into a modern American aircraft carrier. The crew has no function, alternately standing around or marching in and out. The vaudeville-like choreography (Beate Vollack) during the "Hilo" chorus, including nine effeminate, bare-chested male dancers, was :is inappropriate as it was embarrassing. What was lost was the claustrophobic feeling of Vere's stateroom, as he had none: everything took place on the several levels of the deck. Also problematic was a Captain who remained the same age throughout. There was the nice touch of having Vere carry the "crucified" Billy down from the "cross," kissing him on the forehead as he mourns the dead boy; but forcing Billy to sing his final, glorious line as a dead man, his back to the audience, is an extreme miscalculation.

Mussbach has clearly defined Vere and Claggart as the work's central characters, and Vere's inner conflict is tellingly contrasted with Claggart's depravity. The theme of ...

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