Birtwistle : The Minotaur

Ronald E. Grames reviewed the standard DVD version of this performance released around November 2008 shortly after The Minotaur’s world premiere (Fanfare 32:6), and I find myself to be in substantial agreement with his very positive impressions. The opera presents a nearly relentless display of raw emotions that will not be for the squeamish. A brief introduction and three orchestral interludes are played against projections of a threatening bluish-black sea that seems to pulsate with the rhythms of the music as it enhances the all-pervasive aura of terror and claustrophobia surrounding Ariadne, Theseus, and the Minotaur on their island prison. The minimalist production and sets work perfectly because they do not distract you from the intense and complex interpersonal reactions on stage. John Tomlinson (Minotaur), Christine Rice (Ariadne), and Johan Reuter (Theseus) are nearly faultless in their singing and acting. Antonio Pappano once again proves that he can conduct virtually any opera in any style with authority. David Harsent’s libretto presents (in the words of Grames) “a modern psychological telling of the myth” that centers on the interaction of man and his animal self, plus the treacherous wheeling and dealing between Ariadne and Theseus. These really are miserable people. The violence in the opera is not gratuitous (this is a violent story) but it is extremely graphic to the point where it may well be offensive to some viewers. The documentary Myth is Universal presents a useful discussion of The Minotaur by composer Harrison Birtwistle and Harsent. It would probably be a good idea to watch this before viewing the opera. The principal factor that will ultimately determine many people’s reactions to The Minotaur will probably be Birtwistle’s score, and that is where the technical aspects of this Blu-ray disc are so critical. The Minotaur opens with a snarling, twisted chord that immediately launches the opera into a complex juggernaut of dissonant, modernistic sounds reflecting the influence of Edgard Varèse. Some may intensely dislike the music based on its own merits, and others may actually feel that Birtwistle’s brand of modernism has become passé now. But regardless of your individual stance on it, you are not likely to ever hear a better case made for this music. Birtwistle employs an alto saxophone as Ariadne’s instrument, and adds a prominent cimbalom for orchestral color. The predominant emphasis is on the lower registers of the orchestra with typical Birtwistlian percussion explosions that will give your subwoofer a workout. All of this could have been made for high-definition surround sound, which reveals every aspect of the dense and complex orchestration in nearly perfect balance with the singers. It is really quite amazing how Birtwistle’s seemingly loud and aggressive music actually supports and cushions the vocal lines rather than overwhelming them. Blu-ray’s superior color, contrasts, image sharpness, and black levels certainly improve the viewing experience, especially with the dark lighting in The Minotaur, but they aren’t critical. The importance of the high-definition sound as it enhances Birtwistle’s thorny music may be the factor that makes this dramatically riveting opera more appealing to a wider audience, including audiophiles who revel in the orchestral sound of composers like Mahler and Shostakovich. The Minotaur is highly recommended to the adventurous, but not to the faint of heart.

Price: $57.98

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