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Notes
Nothing is as it appears in the old English manor house of Bly. A new governess takes up her post and discovers that the children who are her new charges are under the influence of the ghosts of the previous governess and her depraved lover. As one disturbing event unfolds after another, the questions become more pressing: What horrors happened here before her arrival? Are the children innocent? Do we really see what we are seeing?
Based on Henry James’s strange ghost story, Benjamin Britten’s The Turn of the Screw is a psychological thriller in the form of a chamber opera. The Orchestre de la Monnaie, under the British conductor Ben Glassberg, took up this masterpiece in a staging which, despite the Covid crisis, received rave reviews. We now present a version recorded in studio conditions immediately after the performances. The two leading singers, Julian Hubbard and Sally Matthews, are utterly convincing: together they push the audience’s imagination to unbearable levels of tension…
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Reviews
“… All the adult singers are highly accomplished … I particularly appreciated the rich sound of Sally Matthews as the Governess and the bright, clear tone of Carole Wilson as Mrs. Grose … If you don’t know this remarkable dreamlike work, you owe yourself the opportunity. With the clearly printed libretto in hand, this new recording is a fine place to start…”
Ralphe P Locke – artsfuse.org – 17 February 2023
Nominee in the Opera category
2023 ICMA Nominee
***** Coup de cœur
Thomas Deschamps – Classica magazine (France) – September 2022
Performance *** Recording ****
“… Ben Glassberg contributes a thoughtful essay to the booklet; with a few exceptions, his tempos are marginally broader than Britten’s, but the astonishing variety of invention, texture and atmosphere in Britten’s scoring comes over more vividly in this new recording.”
Bayan Northcott – BBC Music magazine – August 2022
“…The commitment of the soloists of the Orchestre de la Monnaie, precisely directed by Ben Glassberg, deserves special praise. The instruments are used purely or nostalgically, sometimes robustly and exuberantly, contributing provocatively to this picture of broken innocence and the distortion that accompanies it. Compared to the 1955 recording with Britten, Pears and English Opera, this recording seems fresh rather than polished, and thus edgier at points and thus more spontaneous.” *****
Uwe Krusch – Pizzicato.lu – 21 June 2022
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