For the love of Opera: Peter Grimes

Jakob Janutka as John, Peter Grimes’s apprentice, and Ben Heppner as Peter Grimes in the Canadian Opera Company production of Peter Grimes, 2013.

Peter Grimes by Benjamin Britten is not a happy or redemptive opera—it gives the audience an intimate look into a small, unhappy, dark, seaside village. The Canadian Opera Company does well in this production from the perfectly appropriate set design and beautiful lighting, to the masterful, sometimes feverish composing of audience favourite Johannes Debus.

The people in this unnamed English fishing village are quick to judge and condemn Peter Grimes, whom they believe is responsible for the death of his young apprentice. It’s hard to say what type of character Grimes might have been before the play opens—we only see him in the aftermath of the death, being taken to task by the town coroner. Although Grimes is exonerated for the crime, it is evident that the town will not let the situation rest.

Canadian tenor Ben Heppner as Peter Grimes carries the weight of guilt and accusation in his entire persona—you can hear it in each note sung, see it in his shoulders and his gait. It’s no wonder Heppner is perfect for the role, having played the eponymous character in seven different productions and over more than 40 performances.

Ellen Orford, Grimes’ hesitant love interest is sung by soprano Ileana Montalbetti and asks us indirectly, to find forgiveness and understanding for the tortured fisherman. She likewise carries this character well, with each morose note hitting its mark and so, when she is struck, we feel struck along with her.

Bass-baritone Alan Held as retired Captain Balistrode gave a standout performance. Each time he was on stage, reasoning with Grimes, you felt the sincerity in his voice and you wanted to see the title character in a different light.

One of the most powerful moments in the opera occurs in Act II as the mob’s anger reaches a crescendo and they call out for Peter Grimes—it unfolds like a lynch mob looking for their prey and it works to finally, fully throw Grimes off the edge.

The mob reaches a crescendo as they look for blood.

Set design by Ralph Myers was perfectly suited to this production—dark and sparse without being underwhelming. It allowed the audience to feel some of the loneliness that Grimes felt and experience the despair of the dilapidated town. Lighting by Damien Cooper was spot on. It was eerie and with an almost dingy hue that fit perfectly with the idea of the seaside village. Nothing was bright or harsh, shadows were cast and it gave one a sense of the macabre.

Peter Grimes is not an easily likeable character, he is dark and angry, but he also displays tiny glimpses of sadness and humanity. It’s a testament to him then, that you find yourself rooting for him in the end. You just cannot imagine that one more, bad thing can befall him.

Catch Peter Grimes at the Canadian Opera Company through the end of October.

For more information or tickets, please visit: coc.ca