Garsington Opera – until 19 July 2019
An astoundingly, intense, powerful and thought-provoking piece – The Turn of the Screw (music by Benjamin Britten, libretto by Myfanwy Piper, after the story by Henry James) is making its presence known at Garsington this season and it’s a glory to behold. Conducted by Richards Farnes, the Garsington Opera Orchestra accompany the dark, twisting mystery, shrouded by the spectacular natural light that filters in through the spacious auditorium.
The story, directed meticulously by Louisa Muller, is based around the new Governess entrusted with the care of two children by their guardian and uncle. The uncle, by all accounts would like nothing more to do with his young charges and therefore passes all responsibility to the rather ‘green’ young lady. However, despite first impressions indicating that the young ones are enjoying a normal childhood, playing with toys and going to school – it soon becomes clear that there are dark forces at play. It’s a race against time for the poor young Governess and the bewildered Mrs Grose as the children’s innocence is gradually stolen before their eyes.
From the costumes, to the lighting design (kudos to Malcolm Rippeth), the atmosphere is overt from the outset with an eerie sense of foreboding underpinning the tale as it unfolds. Ed Lyon articulately conveys the prologue before deftly transforming into the devil of the piece, Peter Quint. His vocal ability is remarkable and lends itself to such a strong, assured character as the late Peter Quint. Likewise Sophie Bevan is in splendid voice as The Governess whose innocence will be tainted and whose mission is thwarted from the start.
Kathleen Wilkinson gives a steady, measured performance as the mithering housekeeper, Mrs Grose. As the lately departed Miss Jessel, Katherine Broderick makes a subtle entrance through the lake – almost fading into insignificance which seemingly reflects the way that Peter Quint eventually made her feel. However, when Broderick starts to sing it’s quite a moment, her connection with the character is beautifully formed. Adrianna Forbes-Dorant as Flora and Leo Jemison as Miles should both be congratulated on flawless performances as the disturbed children at the heart of the tale. Most certainly two names to watch out for in the future.
The set is magnificent, offering plenty of doors for deeds of darkness and shadows as well as the previously mentioned lake which takes more of a central place in act two. The silence of the surrounding grounds added to the building tension and intensity – Garsington is the perfect place for such a piece.
I would liken the experience of watching this opera for the first time, to sitting before a brilliant thriller at the cinema, such is the draw and grip of the story and the resplendent music. The notes written within the score could tell a story of their own, they are so much more than incidental. Britten is a genius and has created a musical masterpiece which the whole creative team and cast at Garsington in turn have down proud. Don’t miss it, book now before it finishes on 19th July!