Punch and Judy (opera)
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| Operas by Harrison Birtwistle |
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Punch and Judy (1967) |
Punch and Judy is an opera with music by Harrison Birtwistle and a libretto by Stephen Pruslin, based on the puppet figures of the same names. Birtwistle wrote the score from 1966 to 1967. The opera was first performed at the Aldeburgh Festival, which had commissioned the work, on 8 June 1968, with David Atherton conducting the English Opera Group.[1] The premiere cast included John Cameron as Mr Punch.[2]
The work caused great controversy with members of the audience, because of the violence of the plot and the nature of the music. Benjamin Britten was reported to have left the premiere at the interval.[3] The first US performance was in Minneapolis, and the first New York performance took place in 1988.[4] The first performance in Austria was in 1991, by Wien Modern, with Birtwistle supervising the production.[5] Birtwistle directed a revival of the opera at Aldeburgh in June 1991.[6]
With reference to the ballet of Igor Stravinsky, Paul Griffiths has characterized Mr Punch as "the exact contrary of Petrushka: a human being behaving as a puppet".[7] David Wright has summarized how Birtwistle and Pruslin attempted to treat the characters and music in an archetypal manner to write what they have described as a "source opera".[8] Jonathan Cross has published a detailed analysis of the opera.[9]
Contents |
[edit] Roles
- Mr Punch
- Judy, wife to Punch
- Punch and Judy's baby
- Pretty Polly
- Choregos, friend to Punch
- The Lawyer
- The Doctor
- Fortune-Teller (sung by the same singer as Judy)
- Witch (sung by the same singer as Pretty Polly)
- Jack Ketch (sung by the same singer as Choregos)
[edit] Synopsis
In the course of the opera, Mr Punch commits a series of murders, including of his own infant baby. He also chases after Pretty Polly, an idealized figure, in a quest for redemption and re-integration into society.
[edit] Recording
- Decca HEAD 24/25 (LP issue): Stephen Roberts, Phyllis Bryn-Julson, Jan DeGaetani, Philip Langridge, David Wilson-Johnson, John Tomlinson; London Sinfonietta; David Atherton, conductor[10] [7] [11]
[edit] References
- ^ Crosse, Gordon, "First Performances: Birtwistle's Punch and Judy (Summer 1968). Tempo (New Ser.), 85: pp. 24-26.
- ^ Alan Blyth. "Obituary for John Cameron", The Guardian, 5 April 2002. Retrieved on 2007-09-16.
- ^ Andrew Clements. "The Io Passion", The Guardian, 14 June 2004. Retrieved on 2007-09-11.
- ^ Donal Henehan. "'Punch and Judy' Is Slapstick for Adults", New York Times, 24 June 1988. Retrieved on 2007-09-11.
- ^ Robinson, J. Bradford, "The Review Section: Live Performance" - "Punching Audiences" (February 1992). The Musical Times, 133 (1788): p. 90.
- ^ Rye, Matthew, "The Review Section: Live Performance - Myth and Ritual" (August 1991). The Musical Times, 132 (1782): pp. 405-411.
- ^ a b Griffiths, Paul, Review of recording of Punch and Judy (1981). The Musical Times, 122 (1657): p. 182.
- ^ Wright, David, "Clicks, Clocks & Claques" (July 1994). The Musical Times, 135 (1817): pp. 426-431.
- ^ Cross, Jonathan, "Lines and Circles: On Birtwistle's Punch and Judy and Secret Theatre" (July-October 1994). Music Analysis, 13 (2/3): pp. 203-225.
- ^ Knussen, Oliver, "Recordings: Birtwistle: Punch and Judy / Ligeti: Scenes and Interludes from Le Grand Macabre" (Mar., 1981). Tempo (New Ser.), 136: pp. 27-29.
- ^ Murray, David, Review of Punch and Judy (1990). Tempo (New Ser.), 175: p. 53.
[edit] Source
- Viking Opera Guide ed. Holden (Viking, 1993)
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