" Peter Grimes."—Second Thoughts
MUSIC
IT is odd that Britten, so aware of all the accessories of successful operatic composition, and so astonishingly clever in his use of all those musical devices that make for good theatrical effect, should yet have failed to perceive that the central figure in his scheme was completely lacking in those qualities that arouse the tragic emotions, and especially the emotion of pity. Madness may be a legitimate theme of tragedy, but it must be madness afflicting a noble mind. Grimes is no more a tragic figure than is the brutal protagonist in a recent cause cilibre. In this error Britten is in distinguished company, for. Verdi at an age when he was far more experienced, lavished some of his most beautiful music on the no less- unsatisfactory (though very different) character of Simon
Boccanegra. -
As to the singing, Miss Joan Cross as Ellen sets the example of well-placed tone and epressive phrasing which is too little followed by the remainder of the 'company. Mr. Pears brings to the part of Grimes a sure musicianship, without which the performance might be disastrous. But how much more might be discovered in the part by a ringing tenor voice and an accomplishment in acting! These might redeem ,the faults in the _character, to which allusion has been made, at least while we were under the spell in the theatre. Mr. Pears' unvarying dryness of tone has no magic in it, and his powers as an actor are not equal to the demands made upon them. Mr. Green's costumes seemed exactly right. Mr. Goodall deserves the highest praiie for his conducting of the opera, which presents every possible problem of co-ordination to the director. I hope that by now he .has induced the company, accustomed of late to the wretched acoustics of the New Theatre, to moderate their uniform loudness of tone and get more variety into their singing.
DYNELEY HUSSEY.
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