Owen Wingrave (2001 TV Movie) User Reviews

Interesting but could have been even better

[TheLittleSongbird · 7/10 · 1 August 2012]

Owen Wingrave is always worth hearing and does move me with a titular character you do feel for. But at the same time, it is not one my favourites from Britten, though I can understand why some may not like his music this is from someone who does like all his operas a good deal. This 2001 version is certainly interesting, if perhaps not ideal. The pace feels sluggish sometimes, and I also got the impression that some of the singers hadn't quite adjusted from performing opera on stage to performing it on film. However, the flashbacks don't deter from the story but instead does its best to make Wingrave relateable to the audience. The costumes and settings do look beautiful, while the orchestral playing perform the score(which is quite good but I find Peter Grimes and Turn of the Screw for examples much richer and perhaps more subtle in orchestration) with a strong sound and good musicality.

And Kent Nagano's conducting is efficient without feeling rushed whle also showing nuances without plodding. The singing is great, all the secondary roles are sung competently but their characterisations are not as detailed as that of Wingrave's, Kate's or Spencer's. All three of those roles are brilliantly done in all respects. In particular Gerald Finley whose Wingrave is powerful yet sensitive. Charlotte Hellekant has a rich voice and as well as being a beauty she manages to make her Act 2 taunts suitably foreboding. Peter Savidge sings sonorously and is suitably sympathetic as Spencer, though I perhaps prefer John Shirley-Quirk in the role. Josephine Barstow is also good, her voice has been better before but she characterises with subtlety and restraint on the most part. Overall, a good and interesting Owen Wingrave, but I think with more secure pacing and maybe as a live performance where it has more spontaneity I feel it could have been even better than it was.

7/10 Bethany Cox

Britten's Anti-War Opera Not a Complete Success But Has Worthwhile Pleasures

[EUyeshima · 5/10 · 5 March 2006]

Even a lesser work from a late-period Benjamin Britten is worthy of a look and listen, and this 2001 production from Germany directed by Margaret Williams certainly has the quality production values to do justice to the composer's 1971 opera, work originally developed for television. Based on an 1892 ghost story by Henry James, it's a relatively straightforward anti-war story set in 1958 about a soldier who turns into a conscientious objector and consequently a family outcast. The piece reminds me a lot of Britten's anti-violence masterwork "Billy Budd", as I was struck by the central irony of Owen's predicament - that the traditional source of support, his family, turns into a more virulent war than any combat he would have faced on the battlefield.

The actual filming locations help immeasurably to build the context of the story, but the downside is the lack of adjustment made by singers who are used to delivering their voices full-blast onstage. I imagine part of the reasoning has to do with the story's theme of intolerance and that Williams feels a need to give a sense of belligerent ensemble to epitomize the adversarial force against the hero. The other detrimental factor to this production is the lethargic pacing. Fortunately, baritone Gerald Finley plays the title role with admirable restraint and sings powerfully throughout. He makes palpable the character's decreasing sense of personal power as the story lurches along. All the singing is quite accomplished, though there are two standouts among the actors. Mezzo-soprano Charlotte Hellekant makes Kate Julian at once beautiful and foreboding, especially in her Act II taunting of Owen for his perceived cowardice, and bass-baritone Peter Savidge makes Owen's sole supporter, Spencer Coyle, a highly sympathetic figure.

Regardless of the flaws, I still feel that experiments to translate opera to the screen are worthwhile to pursue, though after having also experienced Barbara Willis Sweete's 2002 film adaptation of Gounod's "Romeo and Juliet", I still await a wholly successful transfusion. On the DVD, there is one invaluable extra, an hour-long documentary on the life of Britten with particular emphasis on his masterworks - "Peter Grimes", "War Requiem" and "Death in Venice". There is a treasure trove of archived performances and current-day interviews with Britten's contemporaries. This part of the DVD is a genuine must for any Britten aficionado.