Opera Review: Out Comes the Evil

New York City Opera presents The Turn of the Screw.
by Paul J. Pelkonen

Benjamin P. Wenzelberg (seated), Sara Jakubiak (standing) and the cast of Star Wars
in Benjamin Britten's The Turn of the Screw at New York City Opera.
Photo by Richard Termine © 2013 New York City Opera.

On Tuesday night, the New York City Opera took a further step towards reclaiming its identity with this new production (the second of four new shows this year) of Benjamin Britten's The Turn of the Screw. City Opera has historically been a haven for important works of the 20th century that are too intimate for the cavernous stage at the Met. Screw, a chamber opera based on a famous ghost story by Henry James, meets all of those requirements.

Opera Preview: The Turn of the Screw

New York City Opera gambles on young talent. 
by Paul J. Pelkonen

What about the boy? Benjamin P. Wenzelberg (center) finds himself in a supernatural
custody battle in this new City Opera production of The Turn of the Screw.
Photo by Carol Rosegg © 2013 New York City Opera.

The Turn of the Screw is Benjamin Britten's creepiest operas. The British composer (who celebrates his centennial later this year) transformed Henry James' Gothic ghost story into a tale of innocence corrupted and evil triumphant. The clock-like score is one of Britten's tightest creations, a concise re-telling of the story with key changes that serve to increase dramatic tension, placing stress on the listener.

Britten's opera (the libretto is by Myfanwy Piper) is not a straightforward adaptation of  Henry James' ambiguous ghost story. In Ms. Piper's version, the ghosts Peter Quint and Miss Jessel are actual supernatural forces, preying on two innocent children at the Essex country estate of Bly. (James' novella leaves the reader unsure if the Governess is seeing things or slowly going insane.)

Opera Review: Possession Obsession

Opera Moderne presents The Turn of the Screw.

by Paul Pelkonen

Promotional art for The Turn of the Screw. Image © 2012 Opera Moderne.

On Saturday night, the Opera Moderne, a modest Manhattan company new to this publication ended its 2012 season with a taut performance of Benjamin Britten's The Turn of the Screw at Symphony Space.

Britten's opera (the libretto is by Myfanwy Piper) is not a straightforward adaptation of  Henry James' ambiguous ghost story. In Ms. Piper's version, the ghosts Peter Quint and Miss Jessel are actual supernatural forces, preying on two innocent children at the Essex country estate of Bly. (James' novella leaves the reader unsure if the Governess is seeing things or slowly going insane.)