First and last

It's a curious sort of double life I lead. On the one hand, I live and breathe opera every day, and have done so for years; I listen to it, I watch it and, of course I write about it, and while doing so doesn't pay the bills, it nevertheless is, for lack of a better term, What I Do. But on the other hand, I'm only twenty-five and I've only lived in a city with an opera company for three years. So however deep my immersion, it's the plain and simple truth that a lot of things which happen to me, happen for the first time. And Peter Grimes has been richer in these Firsts than most.

We know I'm an obsessive sort of person and almost always inclined to see a show more than once if I can. I'll do that for all sorts of reasons. But I usually don't see every show in a season unless there's a particular — generally soprano-shaped — drawcard. In fact, there are only four productions about which I can absolutely truthfully say I saw every performance, and it will be no surprise to anybody that the cause in every case was either Yvonne Kenny or Cheryl Barker. I'm seeing every performance of Peter Grimes, however, and while the cast abounds with singers who would, on their own, be more than reason enough for my completist urge to kick in, it's nevertheless not about any one individual or any starry-eyed fixation. It is the show itself which keeps pulling me back, and above all, it is the opera itself — all this irresistible magnetism has its ultimate roots in the magic wrought by Britten. 

That magnetism must be powerful, too, because this is also the first season in which I've seen my own urge to return and return reflected in so many other people. People who sometimes think I'm a bit mad for going back are now doing it too. A few friends who almost never see anything twice, have come back, and among my fellow devotees, my 6/6 record is closer than usual to being equalled. In fact I expect it has been equalled, and so it should. And while there's a glow that hangs about from show to show, each time is somehow also the first time, as fresh and as revelatory as when we began. There's no going through the motions and no sense of getting through the less interesting bits, as I might have felt with other operas I attended multiple times. Each visit is its own experience. 

Peter Grimes has also given rise to a delightful subculture that I've always sort of wished for and never really seen. On Twitter, on Facebook, via email and in the comments of this blog, those of us knocked over by the show seem hungrier than usual to discuss it, to read and write about it, and, despite the piece's devastating nature, to joke about it. I've cried more than ever while watching it, but between acts and between performances, we've had a lot of fun. I've met old friends and made new ones during the intervals. I've traded lines from the libretto with fellow Grimes-nerds over the internet. The other night, a passing suggestion that we might all come to closing night in Borough-themed costume turned into a hilarious and increasingly surreal discussion of suitable outfits — from Ned Keene's jaunty vest, to William Spode's ghost, to my personal favourite: sea horses. 

Most striking of all has been the audience response. In my admittedly limited experience, I've never known anything like it, and I suspect the Opera Theatre hasn't felt this kind of outpouring for quite some time. Sydney audiences, who so rarely stand, have stood more than once for Peter Grimes. And they've done so immediately, rising at Stuart Skelton's first solo bow and staying on their feet throughout the entirety of the curtain call. Even before that, the applause which has filled the house just at the end of the first act has been consistently longer and louder than usual, and when conductor Mark Wigglesworth leads the orchestra's bow before Act Three, the ovation is quite extraordinary. In a sense, I think the applause has become for us a form of catharsis as much as a mark of approval. Even on opening night, when I suspect we were all too taken aback to stand, I have never seen so many arms raised so high to applaud — as if we wanted to just reach out and embrace the artists who had given us such a phenomenal experience. Nor have I myself ever clapped so loud and so long and on so many occasions. My shoulders ache. I can feel them right now.

Without hyperbole or wolfcrying, I can tell you this: I've never experienced anything like this Peter Grimes in my life; and while performances of a similar magnitude might flow a little thicker and faster in the years to come, I nevertheless cannot see anything ever effacing the particular and precious memory of this season. Certainly it has beaten everything else comparable in my life so far — and in fact, I think it did so before the Prologue had even finished on opening night. The moment I first saw Peter Carroll lead Stuart Skelton gently and silently downstage, I knew this was something different, and something which would stay with me for a long long time to come.

Amidst all these firsts, however, comes a cruel finality. The season was a short one and tonight sees the final performance of Peter Grimes. I've already heard talk of a revival: let us hope it is sooner rather than later. Too late now to tell you to see it; if you haven't done so, you probably either feel keenly what you've missed, or were never much bothered to begin. Those of us (and there are a lot of us) who have seen it or will do so surely can't help but feel how incredibly fortunate we've been to see this Grimes, and to see it at the start of its journey. Next comes Perth, then Houston, and after that, who knows? I hope Neil Armfield's show will see — and be seen by — the world. Both they and he — and Benjamin Britten — deserve nothing less. 

Comments

[David]

Sarah your "obsession" is stupendously uplifting, enlightening and informative and I for one adore your passion. Untill I first read your blogs and then met you, I thought my "obsession" with Cheryl Barker in particular and opera in general was a malady that had afflicted a sound and rational human being!! I am not alone and can pursue my personal obsession in the knowledge that I am not alone!!

It was reading your thoughts on this Grimes that persuaded and convinced me to venture forth and see it. I was adamant that I would not, as my previous experience of it in 2001 (??) left me cold and utterly repelled by it. Never did I imagine that this 2009 viewing woulf effect me so strongly and bring me full circle to total adoration of this marvellous work!!! I am fully converted and it makes me wonder why I was so repelled in 2001 by it?? I'm not sure-perhaps I was not ready for whatever reason to be captivated by Briten who admittedly I was not that familiar with at that stage.

Last Tuesday at Peter Grimes will rank as one of the greatest nights I have ever spent at the opera and whilst my experience is largely limited to Sydney I have seen hundreds of performances over the last 20 years here in Sydney and in Melbourne. I hesitate to call it the greatest as who knows what will come along in the future and I would rather place it side by side in equal rank with my other great opera moments-my top 5 in no particular order now being:

*Stuart Skelton and Susan Gritton in Peter Grimes. Nothing more needs to be said!!!!

*Eileen Hannen as Katya in the late 90's (another Armfield production!!). Her mad scene and descent into her private hell brought the audience to visible tears! There were people all around me who were brought to tears.

*Elizabeth Connell as the Kostelnička in Jenůfa again in the late 90's and another Armfield production!! She was so totally explosive in her grief and agony that it felt like a freight truck had hit us and what a voice!!

*Cheryl Barker as Violetta whose utter desolation in the last scene when she pondered the street life through the window and instinctively knew she would not live to enjoy life again was gob-smacking!! I cried!!

*The final scene of Onegin with Cheryl Barker and Vladimir Chernov. I find this scene so utterly wonderful both musically and dramatically and with these two how could you go wrong???

[victoria]

Thanks to Sarah and David for articulating the feelings of many after this short intense and wonderful season of the new OA Peter Grimes.
Part of the reason for the incredible and inspiring response in the theatre to this opera has been management's decision to open up company rush seats to fill the theatre with informed opera lovers- other musicians and teachers and singers and friends who were then given an unusual opportunity to see the opera at a very reasonable cost more than once. Management is to be applauded for this decision!! let's hope they are encouraged by the response to allow such possibilities again where possible.
Thanks to David for his thoughts on other comparable moments in the Opera Theatre. Great choices!
I would like to add a list of my favourites-

*Jennifer Wilson, Hye Sun Kwon and Dong Won Shin- opening night of Turandot with Dong Won just arrived from USA as a last minute replacement for Calaf. A stunning night and and a chance to experience the brilliance of this Graeme Murphy production anew with an outstanding cast.Divine singing and chorus work.
*Eliabeth Whitehouse as Senta in the original Barrie Kosky Flying Dutchman- and the magic of John Wegner as the haunting anti-hero.Gobsmacking drama.
* Eric Cutler and Emma Matthews creating fireworks in Gounod's Romeo and Juliet- and then again in Lucia!gorgeous
* Eric Cutler and Leanne Keneally in The Pearlfishers. The scene where Cutler sits in the Lotus position for the Cavatine- transporting :)
* Cheryl Barker's first Butterfly with Moffat's stunning production on Peter England's beautiful floating set- magic.
*Yvonne Kenny and Graeme Pushee in Julius Caesar- pure Handelian joy.
Armfield's masterful handling of Britten's Turn of the Screw- mesmerising on every showing.
Peter Coleman Wright and Robert Tear in Billy Budd- and the all male chorus on that amazing hydraulic ship! fabulous :)

...will have to pause here- but to finish-
**Stuart Skelton and Susan Gritton in Peter Grimes- too many highlights to mention! And the chorus- superbo!!

[David]

How could I have forgotten Elizabeth Whitehouse as Senta!!?? I will have to make it my top 6!!

[Margaret]

This production of Peter Grimes is coming to Perth in February. Anthony Dean Griffey, who sang it at the Met last year, is Grimes, and the Irish soprano, Orla Boylan, is Ellen. Let's hope we get something of your experience!

[Sarah]

I'm sure you will. And you might also get some of our audience - I know at least a few people are tempted to make the trip.

[Simon]

'Peter Grimes' is the first opera I've felt utterly compelled to see a second time, and I am so so glad I threw caution to the wind and traveled the 1000+ km to be there on closing night, just over a fortnight after making the same trip to be here for the opening.

In many ways, the second trip was fueled largely by a determination to finish what I could not complete on opening night: to find a way - despite heartbreak, tears and the sheer physical exhaustion of something so moving - to stand on my feet and applaud everyone involved. I was amazed, and very glad, to see the entire audience of the Opera Theatre rise for the ovation before the curtain even had time to rise completely; and applaud as enthusiastically (and vertically!) for the duration of the curtain call.

I, likewise, have loved meeting people at interval and having so many great nights talking about something which completely destroys us every time we see it. I seriously think I will make going to the opera in costume one of my 2010 ambitions. The entire experience has just been extraordinary.

[Sarah]

I'm totally with you on the costume thing, although I hate to think what we'll end up wearing to Bliss!

[Simon]

Perhaps you, Paulo and I could go as the three deaths of Harry Joy?

[Sarah]

I don't know if you're kidding - or how we'd do it - but I now absolutely want us to do exactly that!

[travelling mezzo]

I couldn't agree more - one of the most magic things I have seen on stage in Sydney - I never thought I would hear myself say that of an opera sung in English. 'My only hope depends on you' is fixed in my mind tonight. All of the cast were stunning & the chorus was amazing. Perhaps we do need to go to Perth. I hauled out my 2001 program - very dull event, whereas its original production was much better. Adding to favourites, can I add John Wegner in anything, but particularly where he does evil, so Billy Budd.

[Deen]

I think the experience of Peter Grimes has changed many people's outlooks on opera, Opera Australia and what the company is capable of. I feel so incredibly lucky to have got to see three of these performances. I know that friends I managed to convince to come with me are already planning their opera going trips for next year and were geniunely moved by the experience...

My only regret is that unfortunately the production wasn't taped for DVD release, which is a tragedy, but let's hope the production returns soon with this cast and it gets recorded then...