Even with an excellent cast and Willy Decker's fine production,
top honors for today's San Francisco Opera premiere of Britten's
"Billy Budd" go to Donald Runnicles' orchestra and Ian Robertson's
chorus.

Soon after Kim Begley's haunting opening solo in the role of Captain
Vere, the men of HMS Indomitable tugged on giant ropes (left over from
"The Flying Dutchman"?), singing "O heave!  O heave away, heave!," the
sound of the chorus and of the orchestra coalesced into a thrilling
single voice, coming from far away, from the deep.

Time and again, Robertson's chorus sang with introspection, depth, a
solid sound that did not aim at overwhelming the audience, but rather
to draw it into the base, the essence of the music.  There was restraint
even during the battle scene, not even a hint of showboating in this
"choral opera." For the chorus to go Solti-Wagnerian is a temptation
difficult to resist; Runnicles, Robertson, and the chorus came through
with honor and the highest quality.

The orchestra, under a knowing and loving baton, was at its best,
flawless woodwinds riding on the gently rolling waves created by the
strings.  Balances and dynamics were exemplary.

Willy Decker's rather curious production from Vienna both framed this
performance and was sustained by it.  "Curious" because there is little
physical reality to the ship where the work takes place - there are huge,
flat, mostly black surfaces, and - now and then - a "window" to the sea.
It's clean, consistent, and unintrusive.  Ditto for Sabine Hartmannshenn's
direction, except for her dressing Billy Budd in white (whenever not
naked to the waste), against the dark (suspiciously contemporary denim-like)
uniforms all around.  "Beauty" or "Billy the Good" has been seen with
blond hair before, with going whole hog with the whites lacked only
having a halo around his head.

A halo, actually, was well deserved by Nathan Gunn, fully on par with
San Francisco's only other Budd, Dale Duesing (in 1978 and 1985).  Gunn's
mellow, warm and yet heroic voice underlined a well-acted character whose
demise at the end was greeted by much sobbing.  Begley's Vere is of the
Peter Pears category, but more solidly grounded.  Phillip Ens' Claggart
was mean, disturbed, powerful - in voice, in action.

They and the rest of the large cast (featuring many Adler Fellows from
the SFO Center) blended spectacularly, helping to realize Runnicles'
concept of an oceanic musicality.  (Although performed in two acts, this
production otherwise is based on the original, 1951, four-act version.)

It's easy to predict that future stars of opera will refer to the San
Francisco "Billy Budd" as their first role of note.  Among them: Joshua
Bloom (First Mate), Ricardo Herrera (Second Mate), Daniel Okulitch (Bosun
and Gunner's Mate), Mel Urlich, Thomas Glenn, and - especially - Harold
Gray Meers, as the outstanding Novice.  Such veterans as Theodore Baerg,
Philip Skinner, John Duykers, William Pickersgill and Gregory Stapp
contributed mightily.

There are performances through Oct. 17.  Don't miss this musical treat
- the house was only three-quarters full for the opening, and it would
be a shame if music lovers missed out on a quietly majestic performance
of a great opera.

Janos Gereben
www.sfcv.org
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