Peter Grimes NYC Reviews and Tickets
Show-Score Member Reviews (11)
See it if Alan Clayton has taken his place of honor as one the great Peter Grimes interpreters and not to be missed. Carter's conducting was epic.
Don't see it if John Doyle's production was rather static, showing its age and sometimes rather noisy in scene changes.
See it if Typical orchestra and chorus excellence. Clayton is compelling.
Don't see it if Not an opera fan.
See it if you enjoy ravishing Britten music well sung by all, especially Clayton as Grimes and Car as Ellen Orford, with dark but dynamic staging
Don't see it if you don’t care for opera, or would prefer something less bleak. This opera is gloomy with just a trace of hope before the inevitable tragedy Read more
See it if you're into one of 20th century's operatic masterpieces. Met orchestra under Carter sounds amazing, and the choral singing is super powerful
Don't see it if you can't get over that all this terrific music & singing is drowning in this terrible black wooden monolith of a set and all black costumes
See it if you like this particular opera. it is exceedingly well performed althoguh there is no action. Only talk and the expression of emotion
Don't see it if you are interested in a classic form of opera with memorable tunes and lots of action. This, like all Britten's operas is about the outsider
See it if Great music
Don't see it if You don’t like stories involving children
See it if great staging
Don't see it if boring
See it if only for the singers and orchestra -- they are superb.
Don't see it if you expect opera productions to be thoroughly imagined theatrical events. Read more
Critic Reviews (4)
"Cast members tend to sing with little nuance at the audience, rather than to one another, and mostly while standing in place as they would in concert."
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"Doyle’s stark staging often pushes the dark set so far forward that much of the action is crammed onto the front edge of the stage."
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"With its monochromatic look and constantly shifting panels, one gets the sense of uncertainty, coupled with instability, and a general lack of warmth."
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"Clayton himself brought home all the tragedy, and the chorus’ singing in the closing scene was gentle and shimmering, heartfelt, Carter and the orchestra finally unleashing the tragic, aching beauty in the score."
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