A very well done 1985 "studio" video of the Kent Opera production of Sir Michael Tippett's magnificent opera.
Few in the cast had names I'd heard of, save for Sarah Walker who's amazing vocalism shines as Andromache.
Rodney Macann takes the title role and convinces one he IS Priam.
This is absolutely one of the true works of musical and theatrical genius of the past century. Sir Michael provided his own scorchingly beautiful libretto as well as a score of remarkable complexity and variety. While I'm sure some may dismiss the music because of its modernity, that is precisely one of the strongest qualities it possesses. Although written over 40 years ago, it sounds as fresh as if it had been composed last week (and with a most timely subject matter.) In his modern way Tippett has written some truly achingly beautiful music; nowhere more so than in Achille's Act II guitar accompanied narration in which he longingly recalls his boyhood to his companion Patroclus (Tippett's libretto and Robin Lough's direction leave little doubt as to the nature of these two men's relationship).
Indeed, director Robin Lough opens everything up - the blood, the gore, the violence - everything is simultaneously stylized yet naturally graphic. Lough provides visual scenes that are at once horrific yet beautiful. A great example is the Act II finale: Priam and sons Hector and Paris strip down to the waist and kneel before the nearly naked bloodied corpse of Patroclus, they then in triumph paint each other's torsos with Patroclus's blood as Tippett's score explodes from this bizarre scene of violent jubilation into Achille's bizarre battle cry. We watch as the image of Hector's face morphs from heroic to horrified. Scorching, operatic drama.
The scene of Priam, barefoot and broken in spirit - begging Achille's for the mutilated body of his slain son is wrenching both musically and visually. Tippett has the two enemies sharing wine and frankly discuss how they both will soon die, each at the hand of the other's sons.
Sadly, this seems to be yet another work that I fear will never get its proper due. Were I a world class baritone, I'd be begging some company to produce this for me, for in it Tippett has created a role that in its scope and tragic nobility is the equal of Shakespeare's Lear.
This is definitely an opera which, given half a chance, will make a profound impression on the viewer/listener plenty to think on. Though seemingly obsessed with blood, territorial rights, pride of ownership, war and domination, it is, along with Britten's War Requiem the most powerful anti-war statement in all of classical music.
p.
Few in the cast had names I'd heard of, save for Sarah Walker who's amazing vocalism shines as Andromache.
Rodney Macann takes the title role and convinces one he IS Priam.
This is absolutely one of the true works of musical and theatrical genius of the past century. Sir Michael provided his own scorchingly beautiful libretto as well as a score of remarkable complexity and variety. While I'm sure some may dismiss the music because of its modernity, that is precisely one of the strongest qualities it possesses. Although written over 40 years ago, it sounds as fresh as if it had been composed last week (and with a most timely subject matter.) In his modern way Tippett has written some truly achingly beautiful music; nowhere more so than in Achille's Act II guitar accompanied narration in which he longingly recalls his boyhood to his companion Patroclus (Tippett's libretto and Robin Lough's direction leave little doubt as to the nature of these two men's relationship).
Indeed, director Robin Lough opens everything up - the blood, the gore, the violence - everything is simultaneously stylized yet naturally graphic. Lough provides visual scenes that are at once horrific yet beautiful. A great example is the Act II finale: Priam and sons Hector and Paris strip down to the waist and kneel before the nearly naked bloodied corpse of Patroclus, they then in triumph paint each other's torsos with Patroclus's blood as Tippett's score explodes from this bizarre scene of violent jubilation into Achille's bizarre battle cry. We watch as the image of Hector's face morphs from heroic to horrified. Scorching, operatic drama.
The scene of Priam, barefoot and broken in spirit - begging Achille's for the mutilated body of his slain son is wrenching both musically and visually. Tippett has the two enemies sharing wine and frankly discuss how they both will soon die, each at the hand of the other's sons.
Sadly, this seems to be yet another work that I fear will never get its proper due. Were I a world class baritone, I'd be begging some company to produce this for me, for in it Tippett has created a role that in its scope and tragic nobility is the equal of Shakespeare's Lear.
This is definitely an opera which, given half a chance, will make a profound impression on the viewer/listener plenty to think on. Though seemingly obsessed with blood, territorial rights, pride of ownership, war and domination, it is, along with Britten's War Requiem the most powerful anti-war statement in all of classical music.
p.
