Review of Britten’s War Requiem and The Turn of the Screw

Whatever Queen Victoria envisioned for her magnificent “arts and sciences” amphitheatre, no event embodies the essence of the Royal Albert Hall like a grand Prom. Featuring massed voices, children’s choir, soloists, full orchestral forces, and an arena packed with standing promenaders, it turns every seat into a sought-after vantage point. Last weekend’s performance of Benjamin Britten’s War Requiem, executed by the London Symphony Orchestra, London Symphony Chorus, BBC Symphony Chorus, and the Tiffin Boys’ Choir (tucked high up in the gallery), conducted by Antonio Pappano, marked the midpoint of the 2024 season. It served as a powerful wake-up call, reminding us in the drowsy mid-August days that the Proms are finite—with just three weeks remaining. The monumental concert series will also touch down in cities like Bristol, Newport, Belfast, Aberdeen, and Nottingham before the grand Last Night finale.

The War Requiem (1962) was first brought to life at the Proms a year after its creation. It was originally written for the consecration of the new Coventry Cathedral, crafted by Basil Spence, which stood in place of the 14th-century structure destroyed by German bombing in November 1940. Britten masterfully blended the old with the new, interweaving the ancient Missa pro Defunctis (Mass for the Dead) with modern poems by Wilfred Owen, who died in the First World War. The resulting piece, a poignant and personal requiem with an anti-war message, captures the violence and tragedy of war in a way that’s both impactful and emotionally stirring. Initially, the piece wasn’t universally praised. Britten’s tonal style clashed with the avant-garde movements of the early 60s, which were more attuned to the Beatles on one end and John Cage and Stockhausen on the other.

Performing the War Requiem presents performers and conductors with numerous challenges due to the large-scale orchestration, including a main and a chamber orchestra. The piece transitions seamlessly from communal mourning to private reflection, with choral voices and soprano Natalya Romaniw delivering the Latin mass, symbolizing the mourning voices back home. Tenor Allan Clayton and baritone Will Liverman, supported by the chamber orchestra, represent the voices of two soldiers. Clayton’s performance of “Move him into the sun” was executed with an exceptional level of restraint, heightening in intensity and volume as the soldier comes to grips with his friend’s death.

When Romaniw joined in with her haunting “Lacrimosa” refrain, sung from high at the back of the orchestra, the piece reached a painful unity of lament. In his Proms debut, Liverman’s exchanges with Clayton, especially their duet “Let us sleep now,” were profoundly effective, leading into the serene “In paradisum.” Countless moments—from the brass fanfares to the muffled drum rolls, eloquent string quartet solos, and even the beautifully drilled children’s voices—stand out in memory. It’s worth listening to again on BBC Sounds or watching on iPlayer, despite the occasionally perplexing camerawork. The visual experience offers a new appreciation for the Royal Albert Hall’s iconic acoustic mushrooms.

Britten’s music was also celebrated on a smaller scale last week at the Waterperry Opera Festival in Oxfordshire, which recently completed its seventh season. Known for its youthful energy and emphasis on young talent, the 300-seat open-air amphitheatre hosted a new production of Britten’s The Turn of the Screw. Directed by Rebecca Meltzer and conducted by Bertie Baigent, the production relied on minimal props and the performers’ confident physicality to evoke the ghostly ambiguity of Henry James’s classic novella.

This compelling staging highlighted various facets of the story—particularly the eerie relationship between Quint (Robin Bailey) and Miss Jessel (Siân Dicker), the complex interactions involving Mrs. Grose (Georgia Mae Ellis), and the Governess’s fears (Charlotte Bowden). Most notably, the performances by Beth Burdge (Flora) and Ivo Clark (Miles) were among the highlights, showcasing some of the finest young talent. The next year’s festival promises to continue this tradition, and is set to be announced in the autumn. With Waterperry Opera Festival nestled beside a smart garden centre, the temptation to browse its wares in twilight adds a unique charm, although I managed to resist taking home a large urn!

Prom 37: Britten’s War Requiem ★★★★★
The Turn of the Screw ★★★★

Source: Various