Bavarian State Opera 27 September 2022 - Peter Grimes | GoComGo.com

Peter Grimes

Bavarian State Opera, National Theatre, Munich, Germany
All photos (6)
Select date and time
7 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Munich, Germany
Starts at: 19:00
Acts: 3
Duration: 3h
Sung in: English
Titles in: German,English

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

Britten’s first grand opera is an inexhaustible panorama of interpersonal entanglements, illustrated by the world of simple coastal folk, whose seams are only scantily held together. His music penetrates deep into the soul with its tones for the lonesome individual, the unleashed masses and eternal nature.

The opera begins with a showdown – a trial, which should actually take place at the end. A boy has died, drowned while fishing with the fisherman Peter Grimes. The circumstances are suspicious, but evidence for a conviction there is not. The acquittal is ambivalent, the stigma of being of a violent nature sticks to Grimes – as if the townspeople believe it should be so, both opponents and friends. Some see an enemy in the outcast, others the object of their compassion. Grimes is faced with ill will on all fronts, like Sisyphus. A vicious circle! It was also a life-long concern for Britten: “... the struggle of the individual against the masses. The more vicious the society, the more vicious the individual.” Everywhere he turns the snare tightens, until another piece of misfortune seals Grimes’s fate. 

History
Premiere of this production: 07 June 1945, Sadler`s Wells, London

Peter Grimes is an opera by Benjamin Britten, with a libretto adapted by Montagu Slater from the narrative poem, "Peter Grimes", in George Crabbe's book The Borough. The "borough" of the opera is a fictional village which shares some similarities with Crabbe's, and later Britten's, own home of Aldeburgh, a town on England's east coast.

Synopsis

Prologue

A Suffolk coastal village, mid-19th century (The date is not specified, but the foghorn in Act III places it later than the date of Crabbe's poem)

Peter Grimes is questioned at an inquest over the death at sea of his apprentice. The townsfolk, all present, make it clear that they think Grimes is guilty and deserving of punishment. Although the coroner, Mr Swallow, determines the boy's death to be accidental and clears Grimes without a proper trial, he advises Grimes not to get another apprentice—a proposal against which Grimes vigorously protests. As the court is cleared, Ellen Orford, the schoolmistress whom Grimes wishes to marry as soon as he gains the Borough's respect, attempts to comfort Grimes as he rages against what he sees as the community's unwillingness to give him a true second chance.

Act 1

The same, some days later

After the first orchestral Interlude (in the Four Sea Interludes concert version entitled "Dawn"), the chorus, who constitute "the Borough", sing of their weary daily round and their relationship with the sea and the seasons. Grimes calls for help to haul his boat ashore, but is shunned by most of the community. Belatedly, Balstrode and the apothecary, Ned Keene, assist Grimes by turning the capstan. Keene tells Grimes that he has found him a new apprentice (named John) from the workhouse. Nobody will volunteer to fetch the boy, until Ellen offers ("Let her among you without fault...").

As a storm approaches, most of the community—after securing windows and equipment—take shelter in the pub. Grimes stays out, and alone with Balstrode confesses his ambitions: to make his fortune with a "good catch", buy a good home and marry Ellen Orford. Balstrode suggests "without your booty Ellen will have you now", only to provoke Grimes's furious "No, not for pity!" Balstrode abandons Grimes to the storm, as the latter ruminates "What harbour shelters peace?" The storm then breaks with a vengeance (second orchestral Interlude).

In the pub, tensions are rising due both to the storm and to the fiery Methodist fisherman, Bob Boles, getting increasingly drunk and lecherous after the pub's main attraction, the two "nieces". Grimes suddenly enters ("Now the Great Bear and Pleiades..."), and his wild appearance unites almost the entire community in their fear and mistrust of his "temper". Ned Keene saves the situation by starting a round ("Old Joe has gone fishing"). Just as the round reaches a climax, Ellen arrives with the apprentice, both drenched. Grimes immediately sets off with the apprentice to his hut, despite the terrible storm.

Act 2

The same, some weeks later

On Sunday morning (the third orchestral Interlude), while most of the Borough is at church, Ellen talks with John, the apprentice. She is horrified when she finds a bruise on his neck. When she confronts Grimes about it, he brusquely claims that it was an accident. Growing agitated at her mounting concern and interference, he strikes her and runs off with the boy. This does not go unseen: first Keene, Auntie, and Bob Boles, then the chorus comment on what has happened, the latter developing into a mob to investigate Grimes's hut. As the men march off, Ellen, Auntie, and the nieces sing sadly of the relationship of women with men. The fourth interlude (Passacaglia) follows as the scene changes.

At the hut, Grimes impatiently drives the ever silent John into changing out of his Sunday clothes and into fisherman's gear, and then becomes lost in his memories of his previous, now dead apprentice, reliving the boy's death of thirst. When he hears the mob of villagers approaching, he quickly comes back to reality, stirred both by a paranoid belief that John has been "gossiping" with Ellen, so provoking the "odd procession", and at the same time feeling defiant. He gets ready to set out to sea, and he tells John to be careful climbing down the cliff to his boat, but to no avail: the boy falls to his death. When the mob reaches the hut Grimes is gone, and they find nothing out of order, so they disperse.

Act 3

The same, two days later, night time in the Borough ("Moonlight" in the Sea Interludes).

While a dance is going on, Mrs Sedley tries to convince the authorities that Grimes is a murderer, but to no avail. Ellen and Captain Balstrode confide in each other: Grimes has disappeared, and Balstrode has discovered a jersey washed ashore: a jersey that Ellen recognises as one she had knitted for John. Mrs Sedley overhears this, and with the knowledge that Grimes has returned, she is able to instigate another mob. Singing "Him who despises us we'll destroy", the villagers go off in search of Grimes. The sixth interlude, not included in the Sea Interludes, covers the change of scene.

While the chorus can be heard searching for him, Grimes appears onstage, singing a long monologue sparsely accompanied by cries from the off-stage chorus, and a fog horn (represented by a solo tuba): John's death has seemingly shattered Grimes's sanity. Ellen and Balstrode find him, and the old captain encourages Grimes to take his boat out to sea and sink it. Grimes leaves. The next morning, the Borough begins its day anew, as if nothing has happened. There is a report from the coastguard of a ship sinking off the coast. This is dismissed by Auntie as "one of these rumours."

Venue Info

Bavarian State Opera - Munich
Location   Max-Joseph-Platz 2

The Bavarian State Opera or the National Theatre (Nationaltheater) on Max-Joseph-Platz in Munich, Germany, is a historic opera house and the main theatre of Munich, home of the Bavarian State Opera, Bavarian State Orchestra, and the Bavarian State Ballet.

During its early years, the National Theatre saw the premières of a significant number of operas, including many by German composers. These included Wagner’s Tristan und Isolde (1865), Die Meistersinger von Nürnberg (1868), Das Rheingold (1869) and Die Walküre (1870), after which Wagner chose to build the Festspielhaus in Bayreuth and held further premières of his works there.

During the latter part of the 19th century, it was Richard Strauss who would make his mark on the theatre in the city in which he was born in 1864. After accepting the position of conductor for a short time, Strauss returned to the theatre to become principal conductor from 1894 to 1898. In the pre-War period, his Friedenstag (1938) and Capriccio were premièred in Munich. In the post-War period, the house has seen significant productions and many world premieres.

First theatre – 1818 to 1823
The first theatre was commissioned in 1810 by King Maximilian I of Bavaria because the nearby Cuvilliés Theatre had too little space. It was designed by Karl von Fischer, with the 1782 Odéon in Paris as architectural precedent. Construction began on 26 October 1811 but was interrupted in 1813 by financing problems. In 1817 a fire occurred in the unfinished building.

The new theatre finally opened on 12 October 1818 with a performance of Die Weihe by Ferdinand Fränzl, but was soon destroyed by another fire on 14 January 1823; the stage décor caught fire during a performance of Die beyden Füchse by Étienne Méhul and the fire could not be put out because the water supply was frozen. Coincidentally the Paris Odéon itself burnt down in 1818.

Second theatre – 1825 to 1943
Designed by Leo von Klenze, the second theatre incorporated Neo-Grec features in its portico and triangular pediment and an entrance supported by Corinthian columns. In 1925 it was modified to create an enlarged stage area with updated equipment. The building was gutted in an air raid on the night of 3 October 1943.

Third theatre – 1963 to present
The third and present theatre (1963) recreates Karl von Fischer's original neo-classical design, though on a slightly larger, 2,100-seat scale. The magnificent royal box is the center of the interior rondel, decorated with two large caryatids. The new stage covers 2,500 square meters (3,000 sq yd), and is thus the world's third largest, after the Opéra Bastille in Paris and the Grand Theatre, Warsaw.

Through the consistent use of wood as a building material, the auditorium has excellent acoustics. Architect Gerhard Moritz Graubner closely preserved the original look of the foyer and main staircase. It opened on 21 November 1963 with an invitation-only performance of Die Frau ohne Schatten under the baton of Joseph Keilberth. Two nights later came the first public performance, of Die Meistersinger von Nürnberg, again under Keilberth.

Important Info
Type: Opera
City: Munich, Germany
Starts at: 19:00
Acts: 3
Duration: 3h
Sung in: English
Titles in: German,English
Top of page