Peter Grimes - Student Guide

Introduction S

By Benjamin Britten Libretto by Montagu Slater

, the sea has been a volatile creature with power to bring desolation or tranquility in a matter of moments The world of Peter Grimes is controlled by this very force: the sea. The villagers are as unsympathetic and brutal as the fiercest waves. The story is set on the East Coast of England. The opera was originally set in the 1830s However, director Paul Curran chose to update the sets and costumes of this version of Peter Grimes to the 1940s, the troubled time when the opera was actually written by Benjamin Britten. This guide will expose the small-town mentality of the villagers in the Borough and reveal the dark isolation of Peter Grimes

C H A R AC T E R S

Peter Grimes (tenor): an ostracized, misunderstood fisherman whose young apprentices are suspiciously subjected to fatal “accidents”

Ellen Orford (soprano): the Borough’s widowed schoolmistress, one of Grimes’ only two sympathizers, and the only woman in whom Grimes is interested

Auntie (contralto): the matronly landlady of the Boar, the town tavern

The “Nieces” (sopranos): Auntie’s two promiscuous nieces who constitute the Borough’s red-light district

Captain Balstrode (baritone): a retired merchant skipper and the second (and last) of Peter’s friends

Mrs. Nabob Sedley (mezzo-soprano): a gossipy widow who lives o of her late husband’s property and investments

Mr. Swallow (bass): a lawyer and the town coroner

Ned Keene (baritone): the boastful town apothecary who peddles fake herbal remedies to his neighbors

Bob Boles (tenor): a fisherman, the town’s hot-headed Methodist preacher, and a drunk

Reverend Horace Adams (tenor): the rector

Hobson (bass): a carter of goods and the town baili

John (silent role): Peter’s second apprentice, an orphaned young boy

P LOT

These fictional journals are crafted to tell the story of Peter Grimes. They are from the prospective of a 16 year old girl who could have lived in the Borough during the time of Peter Grimes. She is not an actual character in the opera.

Costume sketch for the character "Ellen Orford"

Monday, April 2, 1945

What devilishly exciting conversation we had at the breakfast table this morning! Mother and Father were discussing the trial and according to Father, Mr Swallow ruled Peter Grimes innocent! Mother is nonetheless convinced he is guilty of murdering his apprentice, the young William Spode, as are many others in town. Perhaps Swallow did make a grievous mistake. Only time will tell, I suppose.

At the schoolhouse, I asked Nancy if she had overheard any interesting tidbits from her mother. However, Mrs. Orford scolded us for talking tittletattle before Nancy could reply. Mrs. Orford was quite out of sorts today. She released us early from school citing an approaching storm When she thought we had all left, I saw her rush to speak with Mr. Grimes who was standing on the dock and awfully irritable as usual. Apparently, none but Captain Balstrode and Ned Keene had offered to assist him in landing his boat

We heard Mr. Keene tell Mr. Grimes he had found him another apprentice. It was a surprise to hear Mrs. Orford offer to accompany Hobson to fetch the boy She has grown quite gentle, particularly since her husband passed away

Several women on the dock clicked their tongues in disapproval, and none so loudly as Mrs. Sedley. But Mrs. Orford was quick to silence their rebuke. “Let her among you without fault cast the first stone,” she said to the crowd

These ancient sage words must have pierced the hearts of the crowd for they fell silent. Our humble teacher is incredibly prudent and kind; it is no wonder that Mr. Grimes has such interest in Mrs. Orford. She is one of the few in the Borough who admittedly sympathizes with him, brute that he is I have heard rumors that the only reason Mr. Grimes remains in the Borough is in hopes that Mrs. Orford will one day marry him. She truly is the only individual on the Suffolk coast of England who could clear the man ’ s soiled name!

A storm is brewing on the horizon and Father is out once more at the Boar despite the inclement weather. Even with the winds howling, Auntie’s tavern does a good business if there is gossip to be discussed!

Katherine

Tuesday, April 3, 1945

There was much work to be done this morning with Father’s nets. Thankfully, Nancy came over to help. It would have been an insufferably tedious had she not brought news of last night’s upheaval at the Boar Nancy’s sister often socializes with one of Auntie’s nieces; rest assured, her reputation is not tainted by their friendship. She shares with Nancy all the news from the Borough that is typically kept from us According to Auntie’s niece, Father was not alone in wanting some rum to soften the evening’s dank chill. There was quite a crowd at the Boar, including deranged Peter Grimes Of course, Bob Boles was intoxicated, enhancing his belligerence. One would hope that a man of strong religious conviction would control his temper in the name of peace, but temptation always seems to overwhelm any of his good intentions With these two cantankerous souls together, a scuffle was inevitable. Apparently, Mr. Grimes lapsed into one of his mystifying reveries babbling on about bears, clouds, and other nonsense and causing old Mr. Boles to become irritated. The two nearly engaged in a terrifying brawl, but Ned Keene saved the all-but-spoiled evening by leading a merry verse of “Old Joe has gone fishing.” At least that quack is good for something more than his scam remedies!

Mr Grimes, however, never regained composure When Mrs Orford and Hobson arrived with the new apprentice, Mr. Grimes left no time for introductions and whisked him away immediately. The child’s name is John, I believe The poor child was shoved back into the storm before he had time to warm his hands and feet. I suppose such treatment is characteristic of a life with Peter Grimes. No care, no security. I cannot imagine what it must be like, trapped in a wild man ’ s hut on the edge of a cliff with no one but the sea to comfort you in the depth of night.

Listen to me: it is as if Mrs. Sedley’s tongue is wagging in my very mouth!

Katherine

Composer

Benjamin Britten, (1913-1976) a native of Su olk, England, was 16 years old when he began studying with conductor and composer Frank Bridge. The young musician had already been composing prolifically since the age of seven, but Bridge was Britten’s first tangible role model for success in the English world of composition His influence on Britten reached far beyond technique and musicianship Bridge was strongly anti-military, and his attitude towards war and peace guided the British prodigy to publicly proclaim himself a pacifist In early 1939, only months before Great Britain declared war on Germany, Britten followed poet and colleague W H Auden across the Atlantic to New York, a move that was found in bad taste by the pro-war culture back in England. (He ultimately filed for o cial status as a ‘conscientious objector.’) While in New York, Britten and Auden published and produced Paul Bunyan, an operetta for high school students, which enjoyed very little success. Although the operetta was a flop, the three years Britten spent in the United States saw the creation of a great deal of noteworthy song cycles and orchestral works, including Variations on a Theme of Frank Bridge, a piece extolling the virtues of his former mentor. Sergei Koussevitzky, a fellow composer and music director of the Boston Symphony Orchestra and the head of the a uent Koussevitzky Foundation, took interest Britten’s music and ultimately commissioned what would become the composer ’ s most frequently performed staged work: Peter Grimes

It was The Borough, a lengthy poem by English author George Crabbe, which inspired Britten’s first large-scale opera, finished in 1945 In The Borough, Crabbe tells the tragic tale of a brutish man who savagely murders his apprentices but in Britten’s Peter Grimes, ambiguity reigns. Heroes aren’t heroes and villains aren’t villains The title role is as much a victim of society’s oppression as he is a perpetrator. Similarly, the opera itself is both a psychological thriller and a study of man at odds with social norms Like Grimes, Britten often felt excluded by society’s rigid social (and in the composer ’ s case, musical) standards Some analysts have gone so far as to liken the character to his creator. Britten said nothing about his direct connection to the character, but in 1948, the year of the opera ’ s American premiere at the Metropolitan Opera, Britten described his work as a “subject very close to my heart the struggle of the individual against the masses The more vicious the society, the more vicious the individual ” Britten continued to write many well-known and highly praised works until his death (in Aldeburgh, the setting of Peter Grimes) in 1976

Themes

An opera struggling to find its place about a guy struggling to find his place…

The degree of resemblance between Peter Grimes and Benjamin Britten may be debatable, but one similarity is undeniable: the two men were born and raised in the town of Aldeburgh on England’s northeastern coast. But their respective relationships with the community di ered greatly

While Grimes was the feared town madman, Britten was revered and respected. He even founded the world-renown Aldeburgh Music Festival, which has been held every summer since its creation in 1948

Peter Grimes, Britten’s first large-scale opera, conceived while he was residing in the United States, remains the most compelling testament to the composer ’ s innovation, musical genius, and desire to inspire personal reflection and contemplation in even the most reluctant of audiences. But the sharp contrast

T H E S E A

Listen for it!

L T

The sea is not only portrayed on stage with the scenery and lighting, but also in the music. Listen to the “Sea Interlude” on your class CD. The ebb and flow of the sea can be heard in the strength and sweeping line of the music.

between the work’s sweet, melodic folk tunes and its aggressive, angular cadences irritate some listeners In the world of “grand opera, ” however, Peter Grimes fits the bill. Themes of love, death, loss, and guilt abound while featuring engaging characters, a mob, a mad scene, a storm scene, and ethnic flavor The score is somehow simultaneously fresh and original while also keeping with traditional ways of processing harmony, melody, and phrasing. Britten’s music often faces the challenge of being too “conventional” for contemporary music enthusiasts and too “modern” for those reluctant to taste what 20th century composers have to o er. Despite this, Peter Grimes continues to be a repertoire staple at some of the most preeminent opera companies of the world, including the Metropolitan Opera, Opéra National de Paris, Royal Opera House Covent Garden, and, of course, Washington National Opera.

Starring the Washington National Opera Chorus. Though they do not have the title role, their violent gossip and sheer numbers allow them to be the greatest force in the opera with power to intimidate even the strongest individual. .

L I B R E T T I S T

British writer (Charles) Montagu Slater (1902-1956) was selected by Britten to write the libretto for Peter Grimes Although Britten had written several drafts of the opera before bringing in Slater, it is Slater who is credited with creating a palatable flow of the text Another writer stated, “The excellence of Peter Grimes has a great deal to do with Montagu Slater’s libretto, the only libretto I know that can be read in its own right as a dramatic poem. ” Slater had his libretto published as a separate work, much to the discontent of Britten As a versatile writer, he worked as a poet, playwright, librettist, and scriptwriter. Some of his films include The Brave Don’t Cry (1952) and Man of Africa (1956) for which he won a British Film Academy award Slater was also known for his left-wing political writings and his commitment to the Communist Party.

Librettist

Captain Jack Sparrow su ers from exclusion and judgment, not unlike Peter Grimes. Villagers and pirates equally discriminate against Sparrow for his lying and criminal behavior. The audience, however, loves

Captain Jack Sparrow! Whether or not Peter Grimes is loved or hated by his ever changing audience depends on the direction and interpretation of each new production.

A P SYC H O LO G I C A L T H R I L L E R !

You have heard a story like this before. A man returns home to find his beloved wife murdered As he dedicates his life to avenging her death, the plot thickens Who is the mysterious killer? Where is he hiding? Enraptured audience members clench the edge of their seats as the suspense builds The final scene rolls and they gasp together in disbelief: The man himself is the killer

But how is this possible? All is possible within the realm of the mind. The suspenseful action and enigmatic intrigue of psychological thrillers, both in film and in literature, have earned the genre a huge following. Acclaimed films such as Alfred Hitchcock’s Psycho and Christopher Nolan’s Memento have sent shivers down the spines of generations of audiences addicted to that electrifying adrenaline rush. But who knew there were psychological thriller operas? Many psycho-thriller classics feature the Kübler-Ross model, a series of steps through which distressed individuals cope with trauma. In her 1969 book On Death and Dying, Swiss-born psychiatrist Dr. Elisabeth Kübler-Ross first discussed what she determined to be the five stages of grief: denial, anger, bargaining, depression, and acceptance. During the course of the opera, Peter Grimes su ers not only the loss of his two apprentices, but also the erosion of his dignity How does his grieving fit with the Kübler-Ross model?

Sunday, April 8, 1945

There have been but five days since my last entry and the most exciting news has transpired. For once I have no need of Nancy to tell me about the day’s happenings; I witnessed them myself!

It was after church this morning that I overheard Mrs. Orford speaking to John, Mr. Grimes’ new apprentice. She has taken a liking to the shy, young apprentice and had him close to her side on the church steps As I turned the corner, I saw Mrs. Orford examine the bruises on his face and ask whether or not Mr. Grimes beat him! (I would not be the least bit surprised if he had Mr Grimes’ reputation truly has reached rock bottom if Mrs. Offord is having doubts.) I drew my breath sharply as I saw Mr. Grimes approaching; and rightly so, for he struck Mrs. Orford across the cheek! Her workbasket hit the ground and Mr Grimes grabbed John and hurried him towards his hut. I caught a glimpse of Auntie’s terrified, round face from the Boar’s window, and of Ned Keene and Bob Boles who stood wide-eyed on the church path mid-stroll. They too had witnessed the incident.

Word quickly spread throughout the congregation and most everyone agreed that Mr. Grimes had to be confronted. Mrs. Orford, strangely enough, was one of the few dissenters (Maybe she truly does love Grimes

How is that possible?) When she protested the interrogation of Mr Grimes, the entire congregation except Captain Balstrode turned against her. Everyone was chanting Grimes’s name with such venom and vengeance that it must serve him right

What followed next, I did not see. However, Father retold the story to mother of how the entire town stormed Mr. Grimes’s hut only to find things in perfect order I find this quite strange; after the raucous at church, something climactic and potentially dangerous must have occurred upon their arrival home.

Katherine

Tuesday, April 10, 1945

A town dance is intended to be a night of joy and delight, but tonight’s was instead an evening of deceit and despair, culminating in yet another manhunt for Mr Grimes and the boy, both of whom have not been seen since church on Sunday. How I pray for John’s safety!

While I was waiting for a handsome fellow to ask me to dance, I saw Mrs Sedley pestering Mr Swallow about Mr Grimes’s culpability She repeatedly insisted Mr. Grimes had killed both the former apprentice and now John. At first Mr. Swallow brushed her off, but later in the evening she returned with fresh clues: Captain Balstrode found John’s jersey washed up on the rocks beneath Grimes’s hut. (Of course, Captain Balstrode ne ’ er offered Mrs. Sedley this information; she eavesdropped on his conversation with Mrs Orford ) Upon receiving this incriminating information, Mr. Swallow assembled a group of men to investigate.

Oh, how I do hope and pray the poor boy is simply running about shirtless However, I too have little faith in Mr Grimes and find myself believing that he has orchestrated a second premature death.

Katherine

Wednesday, April 11, 1945

The coast guard reported a ship sinking today, but no one believes the rumor to be true I wonder if it is Peter Grimes’s boat that has gone under; after all, he has not been seen since before the town dance. It would not be a loss to this town if he did indeed drown, though it pains me still to think about John Several more apprentices will be arriving today from the workhouse and will be assigned to the overworked fishermen in the Borough May they never know the dreadful fate of young John and his misguided master.

Katherine

Director

How do you view Peter Grimes? Madman or misunderstood?

It is important to recognize that the biggest, most influential character in the opera is not Peter Grimes, but the chorus The chorus members play the townspeople and they are the ones that carry the story With strength in numbers, they have the power to viciously accuse Peter Grimes It’s all about perception and their narrow-minded ways leave almost no one unconvinced of his guilt Peter Grimes is not actually crazy; it is the mass hysteria that creates this idea

How does Mrs. Ellen Orford fit into this picture?

The following is the summary of an interview conducted on October 10, 2008 with Paul Curran, the director of Washington National Opera’s Peter Grimes It was designed to give the reader an inside look into the creation and purpose of the opera from the eyes of the director ou is

Ellen is the bravest character in the whole opera She defies the opinions of popular society and stands up for Peter Grimes It takes strength and courage, especially as a woman to confront the hypocrisy of the townspeople in a religious society and say “He who has no sin, cast the first stone ” Her widowed state also denotes that she is wise and has life experience

What is the main inspiration for your direction of this opera?

Society. I don’t want to live in a society where people don’t think before they speak. There is no evidence in the opera that Peter Grimes is guilty. The most dangerous element in this opera is “gossip.” It shows people making assumptions about someone ’ s life without solid grounds. Gossip can really a ect people’s lives. The media blows this out of proportion with movie stars, athletes, and politicians. This opera should convey the dangers of consenting to popular opinion.

What would you like teenagers to come away with after seeing Peter Grimes?

I would like them to be thinking about the society they live in “What do I want to contribute to society? Why should we be civil toward each other? Why is it important to employ my responsibility to ask questions?” The influence of “ mass hysteria” can be one of the most destructive forces in all humanity I want youth to take responsibility for their words and actions instead of simply living by hearsay I want to make them think about what a strange society we live in I want them to struggle with whether or not to believe in Peter Grimes’s guilt Peter Grimes is not a pretty opera It is written during a volatile time by a very angry man The opera will not provide the instant answers that our culture is used to, but it will stretch the mind and make you think. That i my hope.

with the Scottish Director Paul Curran

Costume sketch for the character "Peter Grimes"

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