Benjamin Britten’s Peter Grimes is getting lots of play at the moment. We had the alluring production from Welsh National Opera, Nicky Spence’s first outing as the lead. A concert version at Cadogan Hall is days away. I caught New Palace Opera last year for a Wagner night, a newly discovered passage by the composer as well as a moving Walküre last act.

A first wrestle with Grimes should not taken lightly. I admire them for doing this. I had the same feeling when Kennsington Symphony did it a few years back. Everyone should try it. In one of my favourite operas and a well regarded 20th century masterpiece, lies Britten at his best. Never easy for singer nor musician, the complexity and cleverness of the whole score, sees the characters of George Crabbe come alive with nuance and flair.

The orchestra were up to the challenge, okay a few slips from the brass and some uneven tempos I’m patient with. The devastating force and beauty are what seal the deal. Whether it’s the magic of moonlight, oompa bands, terrifying storms and gleaming sea visions, the orchestration is simply astounding. I know it well now, proudly saying this is the fifth time I’ve heard it live, the Aldeburgh beach and English National Opera outing were my gateway. Some people on the night said they couldn’t hear the words, the stellar libretto by poet Montagu Slater is another benchmark for English opera libertti. There are so many lines I could now sing and quote by the dozen now…..

A fine effort from conductor Michael Throne, who reigns in this watery beast with defiance. The singers left a variable in casting choice. As Grimes, Jonathan Finney has the fitting acting chops, a wild, almost unhinged persona, but the singing was not always there. Flashes of Peter Pears (who created the role back jn 1945) are evident, but some fiery moment left the voice to vulnerable and compromised. Though, I did still love the ‘Now, the Great Bear and Pleiades’ aria in the pub, those outstanding harmonics from the strings are the first marker (the first sea interlude as well) of what a great work this would become.

Too many to mention in the cast, Phillippa Boyle as Ellen Orford paired well in the role. The hearty vocals and sympathetic air to the role is what made Boyle shine. Captain Balstrode from baritone Paul Putnins faired well. I recall his Wagner Dutchman a few hears ago (also with Boyle) and he is better suited in this secondary role. Bo Wang as Reverand Horace Adams is the gossipy father of the The Borough, vocally strong in one many silly roles. Mrs Sedley, the nosey busy body gets a fantastic mini aria, dark and murky in the last act, when Grimes has proven his bad faith in the safety of his fishing apprentices. Gráinne captured the ludicrous nature of the part with aplomb, the vocal shrieks and constant clutching of Pearl’s are often highlights. Even a magnifying glass to boot!

Zoe South might not have always given Aunty, the owner of the Boar pub, the full potential of the role. There is humour and moments of snarky jabs, as she puts up with a lot with a pub compromised by the sea, rowdy patrons and more. Her two Nieces: Elizabeth Stock and Elizabeth Moreland get odd, stroppy vocal pairings, the whining and teasing feature heavily. Swallow the lawyer, was Edwin Kaye, not every word was clear but he felt right in the role. The rest of the cast followed suit with potency and a strong will to try out these bizarre Crabbe creations.

I’ve said it before that Britten would be proud of these performances of Grimes. This also applies here.