By Martin Brisland.
Benjamin Britten’s 1945 opera Peter Grimes saw the young composer’s emergence as a fully formed musical dramatist, and it remains his defining work. A near capacity Mayflower Theatre audience witnessed a real treat with one of the Welsh National Opera’s best productions (30/4/25).
Fisherman Grimes is accused of causing the death of his apprentice. Although ruled accidental, in the minds of the people in the village, Grimes is guilty. Their judgment is sealed once his second apprentice also falls to his death. Peter Grimes is made an outcast, yet he is firmly rooted in his village and wants societal acceptance. A tale of prejudice and tragedy set to a powerful score, this opera follows the downward spiral of Peter Grimes as his coastal community turns against him.
The music brilliantly captures the power of a cruel sea, the storm motif echoing the inner turmoil within Grimes.
The unfolding tragedy is interspersed with excellent moments, such as the aria “Now the Great Bear and the Pleiades,” performed by Nicky Spence OBE as Peter Grimes. Spence has a beautiful tone and he fully conveys the complexity of his character.
Over the course of this opera, Peter’s fragile mental state unwinds and eventually collapses following tragic incidents involving his fishing apprentices. Peter knows he will inevitably be blamed for their deaths.
The renowned British mezzo soprano Dame Sarah Connolly sings the role of Auntie. Sally Matthews makes her WNO debut in the role of Ellen Orford. Another standout is David Kempster as Captain Balstrode.
Tomáš Hanus is back conducting a powerful orchestra. The WNO chorus is at its majestic best as they condemn the outsider, Peter Grimes.
Of course, an outsider such as Grimes needs a community to pit against: in this case the full force of WNO’s fantastic Chorus at the height of their powers.
In Melly Still ‘s production everything unnecessary is pared back. This brings to the fore the sense of oppression and claustrophobia. You get the feeling of imminent chaos being kept in a fragile check.
The stage is bare but periodically decked out with a fishing net, capstans, ropes, and an occasional mast that resembled a crucifix. A fishing boat hangs perilously over the cast, forming a reminder for Grimes of the boy who died in his service.
Nicky Spence as Grimes has a self destructive stubbornness in his refusal to conform, tempered by a determination to find a ‘safe harbour’ in the arms of the school mistress Ellen Orford with whom we see brief tender exchanges. Yet still Grimes fails to control his temper, lashing out at the woman he loves and the boy who has fatally agreed to be his apprentice. The underlying hint of abuse associated with Grimes is not entirely one-sided as we see new apprentice John land a punch on Grimes.
Praise for Tomáš Hanus who shaped the music’s emotional turmoil and savage energy with total assurance. He teases out the score’s dark depths, finding epic breadth and depth in the orchestra.
But it is the elemental power of the WNO chorus that leaves an indelible imprint. They are the tide on which Peter Grimes swims.
As a brutal portrait of intolerance, WNO’s Grimes is still hugely relevant and, after 80 years, has lost none of its potency or emotional punch.
In these dark times of international tensions and the rise of authoritarianism, this tale of suspicion and ostracism feels more potent than ever.
Welsh National Opera’s (WNO) Spring Season is at Mayflower Theatre until Saturday 3 May. Tickets via mayflower.org.uk or 02380 711811.
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