Organization

Conductor

Joana Mallwitz

Chorus master

Chin-Lien Wu

Stage director

Deborah Warner

Set designer

Michael Levine

Lighting designer

Peter Mumford

Video designer

Will Duke

Choreographer

Kim Brandstrup

Singer

Tenor

Allan Clayton

Peter Grimes

Soprano

Maria Bengtsson

Ellen Orford

Baritone

Simon Keenlyside

Balstrode

Contralto

Catherine Wyn-Rogers

Auntie

Anna-Sophie Neher

Niece I

Ilanah Lobel-Torres

Niece II

John Graham-Hall

Bob Boles

Bass

Clive Bayley

Swallow

Mezzo-soprano

Rosie Aldridge

Mrs (Nabob) Sedley

James Gilchrist

Rev. Horace Adams

Jacques Imbrailo

Ned Keene

Stephen Richardson

Hobson

Costume designer

Luis F. Carvalho

Teatro Real de Madrid

Opéra National de Paris

Teatro dell'Opera di Roma

Royal Opera House

Others

Chœur de l’Opéra national de Paris

Orchestra

Paris Opera Orchestra

englanti

Paris

France

Palais Garnier

Peter Grimes Britten

Public

Private

ranska

Approved

Mrs Sedley

When in 1945, Benjamin Britten created his first opera, Peter Grimes, for the reopening of Sadler's Wells in London, the success was resounding. Inspired by a poem by George Crabbe, the British composer did more than set a compatriot's text to music: he marked the revival of English opera, which almost disappeared after Purcell. If the superb orchestral interludes and the assertive lyricism give the work a classical appearance, the subject is terribly disturbing. Who is Peter Grimes, this man exposed to the hostility of his village, this fisherman from Suffolk whose apprentice dies on the high seas? A murderer or an innocent? a child abuser or a victim of prejudice? an anti-hero or a poet? Familiar with Britten, Deborah Warner, invited for the first time to the Paris Opera, preserves the mystery of this fascinating character while emphasizing the conflict between the group and the individual – a particularly topical theme. More information onhttps://www.operadeparis.fr/saison-22...

IN FEW WORDS:

When Benjamin Britten produced his first opera, Peter Grimes, for the reopening of Sadler’s Wells in London in 1945, its success was both immediate and resounding. Drawing inspiration from a poem by George Crabbe, the British composer did more than simply set to music the text by his compatriot: this work signalled a renaissance in English opera, which had all but disappeared since the death of Purcell. Whilst Britten’s superb orchestral interludes and accomplished lyricism confer upon the work a classical quality, its subject is thoroughly disturbing. Who is this Suffolk fisherman, Peter Grimes, whose apprentice drowns at sea; the butt of the villagers’ hostility? A murderer or an innocent man? A child‑killer or the victim of prejudice? An anti‑hero or a poet? These are some of the questions that make this character one of the most fascinating in the operatic repertoire. Invited to the Paris Opera for the first time and a fine connoisseur of Britten, Deborah Warner preserves all the mystery of this complex work, whilst emphasising the conflict between the group and the individual – a particularly burning issue.

English

Peter Grimes by Britten, Alkaen (2023/2023), Ohjannut Deborah Warner,, Musiikinjohto Joana Mallwitz, Palais Garnier, Paris, France

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