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The Wreckers: An Opera for our Time

by Liane Curtis - July 23rd, 2015.
Filed under: composers, conductors, opera, premiere, Premieres, recordings, repertoire, theatre, women composers. Tagged as: , , , , , , , , .

Ethel Smyth’s “The Wreckers” (1906) will receive its’ first staged US performance Friday night (July 24) at Bard Summerscape (total of 5 performances).  NPR’s All Things Considered aired a feature (available here)  about this historic performance (Musicologist Elizabeth Wood and Music Director Leon Botstein were interviewed).

The first sentence of Music Director Leon Bottstein’s program note is certainly one to invite debate:  “It is hard to imagine an opera whose argument is more pertinent to our times than Ethel Smyth’s The Wreckers.”   Botstein continues

 “…The human predicaments that evolve on stage transcend the personal, and the music turns the spectacle of opera into an experience of ethical and political recognition that contests the confines of narrow aesthetic criteria.”

The plot concerns villagers whose belief in themselves as appointed by God to do his work, leads them to sanctify their own habitual practice of murder and theft  (and of course there is love interest as well, intersecting triangles…).  BTW, at the bottom of the page with the program note is a link for the entire libretto.

Botstein (in the note) makes a strong case for “The Wreckers” as  both a work of political and philosophical significance and also as an artistic triumph, using a wide palette of musical approaches to convey the layers of meaning in powerful and convincing ways. Let’s hope the performance supports that assertion! I am inclined to think it will — musically it is a compelling piece (the 1994 performance at London’s Proms was released as a commercial recording; I have been told the Bard performance will also be made available on MP3 format).  The Summerscape webpage includes three short videos about the production, including this insightful one with the Producer Thaddeus Strassberger and Bottstein, and this exciting one with scenes from rehearsals.

Botstein’s commitment to Smyth’s opera (“The Wreckers” is her most monumental of her six works in that genre) is impressive: he conducted a concert performance of the work in New York City in 2007.   Here’s wishing this exciting premiere great success!

And here is the evocative Prelude to Act II, “On the Cliffs of Cornwall”

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