Benjamin Britten - The Turn of the Screw / Padmore · Milne · Wyn Davies · Montague · City of London Sinfonia · Hickox

Richard Hickox conducts a fine musical performance of this unique opera. And seen purely as a film, Katie Mitchell's camera roaming around the wintry English estate is poetic, spooky, and evocative. The only trouble is that film and opera do not go together.Britten is very specific in his setting for each of the opera's sixteen scenes. In the fourth of them, for example, the Governess is enjoying the beauty of the park when she sees a figure on the top of an ornamental tower. This starts fine in the movie, with some lovely camerawork. But the Governess has already gone back to the house before she sees the ghost, and during the second half of the scene she is wanders between various unspecified rooms, and eventually up to the roof. Spooky, yes; specific, no. And as we never see the filmed characters singing, unless talking directly to one another, the music in a scene like this is reduced to background.Another deal-breaker for me is the treatment of the Governess. Instead of the vulnerable young woman in her first post away from home, we get someone who is dumpy and dowdy, prematurely middle-aged. This is not a criticism of the singer, Lisa Milne, who is excellent, and could probably have played a quite different character. But in costume, make-up, and direction, Katie Mitchell seems deliberately to have downplayed any charisma the performer might have had. This completely reverses the contrast between her and the old housekeeper Mrs. Grose, who refers to her as young and pretty, and a lady. No, it is Diana Montague's housekeeper who is the more distinguished of the two, the more attractive, and, in spirit at least, the younger. Why?

Dramatizing a quintessentially literary ghost story for film is not easy, in fact, it is pretty well doomed to partial failure for those who have grown up with the Henry James masterpiece in print and in several movies that have based themselves upon it.This is quite successful in showing Brittan's music to good effect. I found it interesting, entertaining, well-sung well-acted, well-directed; however, I found it much too prosaic and realistic to evoke the air of mystery, of the unknown and unknowable, that an effective ghost story should possess.I have not seen any of the other versions available on DVD, but would guess that the average viewer cannot go wrong watching this if his objective is seeing Benjamin Brittan's opera rather than Henry Jame'sstory.

The best operas achieve an effective drama through a close coordination of text and music. With music by Benjamin Britten to a libretto by Myfanwy Piper, The Turn of the Screw is among the most meticulously plotted operas in the repertoire. The appearances of the ghosts are carefully articulated in the score. It is important both to the musical and dramatic structure that we see the ghosts when the score indicates they are seen, and at no other times. It is a shame, then, that this film tosses aside the careful planning of Britten and Piper, and shows the ghosts to us just whenever the director feels like it, with absolutely no regard for what is happening in the orchestra. The roles are well sung, especially the Governess, Quint, and Mrs. Grose. But fans of Britten's music will be frustrated by a mise-en-scene that rarely coincides with the composer's intentions.

This is a good performance with suitable staging and direction, and the adult roles are well sung and acted. However, I have a problem with the portrayals of the children. Nowhere in the novel does it mention them being happy, gay, carefree, shrieking noisily and chasing after each other at every opportunity. Rather, James portrays them as quiet, withdrawn, even moody, as one might expect haunted children to be. I found this performance's characterization of the children obtrusive and annoying, thus three stars rather than the four the production might otherwise merit.

As the stage manager of the first production of this opera, and as a stage director who has directed it many times, I am very happy to say that I enjoyed this DVD enormously. Beautifully directed and photographed, very interestingly cast, musically impeccable, so well acted and never overstated. The interludes (which have so often given directors problems) were brilliantly handled with an imagination completely in key with the intentions of the composer and librettist and, of course, with Henry James, the author of the novella on which the opera is based.Colin Graham

My major is English Literature and i studied this opera intensively, it was a thrill to see it in high class movie while keeping its originality as a theatrical Opera.. I really enjoyed it.

Highest praise for Katie Mitchell's extraordinary cinematic version of this difficult opera. At last, I've found a production that fully opens Britten's work to me...haunting, atmospheric, beautifully filmed and musically involving. Conductor Richard Hickox leads a revelatory performance with a cast that's sung and acted admirably. Highly recommended.

good price for a good opera

Based on the novella by Henry James, another gay artist with an outsider's perceptive eye into the human condition, Benjamin Britten's opera was written in 1954, less than ten years after "Peter Grimes". With only six characters, Britten here seems to have taken to heart James's injunction to view mere character as plot, a line of thought whose logical conclusion would end in Britten's "Death in Venice" where one sole character ruminates on life's sadness and joys. But, in "The Turn of the Screw" there is still plenty of plot to fascinate the observer, despite the pared-down cast list.And it is not only the cast-list that is so small. It seems the older Britten became, the less melodic were his operas: you won't be humming tunes from "The Turn of the Screw" as you skip down the stairs. No, what replaces melody here is a vivid sense of a haunted and haunting atmosphere, into which this marvellous production draws you and holds you tight until the very end. Beautifully shot in a late autumn landscape of unkempt foliage, misty marshes and forlorn rooms, this is a film of the opera, not a staged production, and all the better for that.Quint (Mark Padmore) and Miss Jessel (Catrin Wyn Davies) are brilliantly evoked, the one barely seen with his guilty eye to camera, the other seen all too clearly, her tortured face and gaunt figure wonderfully portrayed in the autumnal half-light. The two children are good, but could have been better directed. But for me it is Diana Montague as Mrs Grose, and especially Lisa Milne as the Governess who do wonders for the viewer's nerves, chillingly conveying the sense of ominous mischief that is gradually revealed. Their singing is superb, some parts being clearly recorded but some being live to their place, for one can often here their echoes reverberate around the bare rooms, adding a foreboding realism to the scene. The City of London Sinfonia conducted by the ever-dependable Richard Hickox support.No gripes? Well, it is a shame that there are no extras. But, overall, a wonderful film that is true to the opera in every way: I'm sure Britten himself would have approved. Although you won't be humming his tunes, you will nevertheless feel that the experience has been worthwhile.

Quelle déception ! Il y a pas mal de bonnes mises en scène de ce chef-d'oeuvre (mon préféré du compositeur, avec "Peter Grimes") notamment celle, sobre et efficace de Luc Bondy, ou la "mise en film" très impressionnante de Peter Weigl, très fidèle au climat de déviance sexuelle déjà présent dans la nouvelle de Henry James, et subtilement restitué par Britten - tous deux comme on sait homosexuels ( mais certes pas pédophiles). J'ai acheté cette version au vu du générique mentionnant la "télévision director" Katie Mitchell, grande scénographe d'"Alcina" de Haendel et de l'extraordinaire opéra contemporain de George Benjamin "Written on skin". Qu'a-t-elle ramé dans cette galère ? Je n'ai rien vu là que trahison, laideur et platitude ! Là où ne doivent régner que malaise, de l'inquiétude à l'épouvante, on ne trouve qu'une gouvernante dondon dodue et des enfants, comme elle, inexpressifs ; et des "fantômes" laids, sales et repoussants dont on ne peut comprendre l'ascendant exercé, dans une complicité sensuelle, sur les enfants...Passez muscade, les puritains sont là, censure ! Adieu fascination du Mal, adieu mystères ! Que reste-t-il de la beauté maléfique de l'oeuvre ? La musique ? Soit. Qu'on s'épargne le DVD !