King Priam

A very well done 1985 "studio" video of the Kent Opera production of Sir Michael Tippett's magnificent opera.

Few in the cast had names I'd heard of, save for Sarah Walker who's amazing vocalism shines as Andromache.

Rodney Macann takes the title role and convinces one he IS Priam.

This is absolutely one of the true works of musical and theatrical genius of the past century. Sir Michael provided his own scorchingly beautiful libretto as well as a score of remarkable complexity and variety. While I'm sure some may dismiss the music because of its modernity, that is precisely one of the strongest qualities it possesses. Although written over 40 years ago, it sounds as fresh as if it had been composed last week (and with a most timely subject matter.) In his modern way Tippett has written some truly achingly beautiful music; nowhere more so than in Achille's Act II guitar accompanied narration in which he longingly recalls his boyhood to his companion Patroclus (Tippett's libretto and Robin Lough's direction leave little doubt as to the nature of these two men's relationship).

Indeed, director Robin Lough opens everything up - the blood, the gore, the violence - everything is simultaneously stylized yet naturally graphic. Lough provides visual scenes that are at once horrific yet beautiful. A great example is the Act II finale: Priam and sons Hector and Paris strip down to the waist and kneel before the nearly naked bloodied corpse of Patroclus, they then in triumph paint each other's torsos with Patroclus's blood as Tippett's score explodes from this bizarre scene of violent jubilation into Achille's bizarre battle cry. We watch as the image of Hector's face morphs from heroic to horrified. Scorching, operatic drama.

The scene of Priam, barefoot and broken in spirit - begging Achille's for the mutilated body of his slain son is wrenching both musically and visually. Tippett has the two enemies sharing wine and frankly discuss how they both will soon die, each at the hand of the other's sons.

Sadly, this seems to be yet another work that I fear will never get its proper due. Were I a world class baritone, I'd be begging some company to produce this for me, for in it Tippett has created a role that in its scope and tragic nobility is the equal of Shakespeare's Lear.

This is definitely an opera which, given half a chance, will make a profound impression on the viewer/listener plenty to think on. Though seemingly obsessed with blood, territorial rights, pride of ownership, war and domination, it is, along with Britten's War Requiem the most powerful anti-war statement in all of classical music.

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Michael Tippett's music is not for everyone, the first year tutor at university practically idolises him and his music while the first violin leader of Dad's orchestra can't stand it. Tippett personally is not a favourite but I don't dislike him either, if anything the feeling is appreciation. King Priam is one of his best, the music is clever, very individual and sometimes beautiful though also strange and it is easy to see why people won't like it. And while the story is easy to criticise, often as stilted and ponderous, it still makes for gripping musical drama and is appropriately direct. This is a very powerful production, if you love good opera productions you'll love this and if you are a fan of King Priam you'll love it even more. The costumes and sets are a mix of ancient and futuristic and it fits the concept and the story wonderfully. The staging from Nicholas Hytner is incredibly compelling, violent at times but in a gut-wrenching. The cluttered nature of it later on is ideal for the carnage the war brings, and emphasised even more by the stains of blood and such, which makes things further unsettling. Musically, there is nothing to complain about. The orchestra play beautifully, shining in the more sparse moments and any sudden sounds indicated in the orchestration have the impact they ought to. O Rich Soiled Land stands out. Roger Norrington does a fine job with the conducting, musical, accommodating while always moving the drama forward. Robin Lough's video directing doesn't try to do anything flashy and allows us to be intimate with the action. And then we are treated to great performances all round. Rodney Macann's Priam is noble, tragic and authoritative and sung with deep feeling and rich tone, one Amazon reviewer described it as a tour-De-force and that couldn't be more true. Sarah Walker sounds radiant and shapes her music faithfully and appealingly. Neil Jenkins makes us relate to and hate Achilles, he also has a resonant voice and really comes into his own in O Rich Soiled Land. Anne Mason and Janet Price like Walker also sing beautifully and are commanding in their roles, while Christopher Gillett makes his part easy from looking at and hearing him when it really isn't(in fact all the principals' music is difficult to sing). Howard Haskin and Omar Ebrahim characterise with great effect that their conflicts are made believable. Overall, an extraordinarily powerful and effective production. 10/10 Bethany Cox