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THE ROYAL OPERA

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

A co-production with Teatro Real, Madrid, L’Opéra national de Paris and Opera di Roma

Given by permission of Boosey & Hawkes Music Publishers Limited

Generous philanthropic support from Julia and Hans Rausing, Peter and Fiona Espenhahn, Gini and Richard Gabbertas, Malcolm Herring, Ralph and Yolande Kanza, The Peter Grimes Syndicate and The Royal Opera House Endowment Fund

Position of Head of Music Richard Hetherington is generously supported by Bertrand and Elisabeth Meunier

The role of Ellen Orford is generously supported by Marlies Hensel

The role of Captain Balstrode is generously supported by Katie Bradford

Peter Grimes

Opera in a prologue and three acts

29.03.2022 19:00

The 124th performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

The performance will last approximately 3 hours 35 minutes with two intervals.
Act I
65 minutes
Interval
25 minutes
Act II
55 minutes
Interval
25 minutes
Act III
45 minutes

CREDITS

Company
The Royal Opera
Music
Benjamin Britten
Libretto
Montagu Slater
Director
Deborah Warner
Set Designer
Michael Levine
Costume Designer
Luis F. Carvalho
Lighting Designer
Peter Mumford
Movement Director
Kim Brandstrup

CAST

Conducted by
Mark Elder
Peter Grimes
Allan Clayton
Ellen Orford
Maria Bengtsson
Captain Balstrode
Bryn Terfel
Swallow
John Tomlinson
Ned Keene
Jacques Imbrailo
Auntie
Catherine Wyn-Rogers
Mrs Sedley
Rosie Aldridge
Bob Boles
John Graham-Hall
First Niece
Jennifer France
Second Niece
Alexandra Lowe
Rev. Horace Adams
James Gilchrist
Hobson
Stephen Richardson
The Boy
Cruz Fitz
Orchestra
Orchestra of the Royal Opera House
Concert Master
Sergey Levitin
Chorus
Royal Opera Chorus
Chorus Master
William Spaulding

Alexandra Lowe is a member of the Jette Parker Young Artists Programme

Actors Chris Agha, Dom Blackwood, Danay Bouzala, Barry Callan, Sonya Cullingford, Kyle Harrison-Pope, Jamie Higgins, Jamal Lowe, Greville Matthews, Xavi Monreal and Sam Morris

Aerialist Jamie Higgins

EXTRA CHORUS

Sopranos Helen Miles, Alison Rayner, Juliet Schiemann, Rosalind Waters and Vanessa Woodfine

Mezzo-sopranos Jeanette Ager, Felicity Buckland, Siobhain Gibson, Maria Jones and Clare McCaldin

Tenors Simon Biazeck and Andrew Busher

Basses Oscar Castellino, Eugene Dillon-Hooper, Oliver Gibbs and Gavin Horsley

SYNOPSIS

The Borough, a small and impoverished fishing community on the East Coast of England.

PROLOGUE

In a dream, the fisherman Peter Grimes relives the recent inquest held into the death of his young apprentice. The coroner has cast an open verdict, leaving the town speculating and gossiping. Ellen Orford, the school mistress, arrives and lulls Peter into a calmer sleep.

INTERLUDE I

ACT I

When Grimes returns from fishing, only the retired sea captain, Balstrode, and Ned Keene, the local ‘chemist’, are willing to help bring in his boat. Keene tells Grimes that he has arranged for a new apprentice to come and work for him. Hobson – the carter – only agrees to collect the boy when Ellen offers to accompany him on the journey. Balstrode suggests to Grimes that he should leave the town or marry Ellen and change his solitary ways. Grimes rejects his advice, declaring ‘I am native, rooted here,’ and that he will only marry Ellen when he has enough money to earn the respect of the Borough.

INTERLUDE II

With the storm raging outside, the townsfolk are sheltering in the local pub. Mrs Sedley, a widow addicted to laudanum, arrives to wait for Ned Keene, her supplier. The ‘nieces’ of the landlady, Auntie, are teasing the inebriated Methodist fisherman Bob Boles, when Ned Keene arrives with the news that part of the cliff has collapsed by Grimes’s hut. Grimes bursts in, distracted and disoriented. When a fight threatens to break out between him and Boles, Balstrode calls for a song to calm the atmosphere. The song is interrupted by the arrival of Hobson, Ellen and the new apprentice. Instead of allowing the boy to rest, Grimes carries him out into the night.

INTERVAL

ACT II

INTERLUDE III

It is Sunday and Ellen has decided not to go to church, but to question the silent apprentice about his life. She notices that his clothing is torn and that he has a bruise on his neck. Grimes arrives and orders the boy to go fishing. Ellen reminds him that the apprentice is entitled to a day of rest. He loses his temper, pushing Ellen to the ground and running off with the boy. When the locals emerge from church, Bob Boles stirs the Borough into action against Grimes. The townsmen resolve to set out for his hut to get to the truth, leaving Ellen, Auntie and the two Nieces to reflect on their role and relationship to the men in the Borough.

INTERLUDE IV

Grimes and the apprentice prepare for the fishing trip. When he hears the men from the Borough approaching, he panics and hurries the boy down the steep ladder to the beach. With the knock on the door he hears the boy scream, and fearing an accident, scrambles quickly after him. Reverend Adams, Mayor Swallow, Keene and Balstrode enter the hut and are surprised by its orderly state, but neither Grimes nor the boy are there.

INTERVAL

ACT III

INTERLUDE V

Grimes finds the dead apprentice at the base of the cliff.

SCENE ONE

The annual Borough dance is in full swing. Mrs Sedley tries to convince Ned Keene that Grimes has killed his apprentice. Balstrode arrives with Ellen, who has discovered the boy’s jumper on the tide line. Balstrode tells Ellen that he has seen Grimes’s boat, and they resolve to find him before the mob do. Mrs Sedley, who has overheard their conversation, incites the Borough to action and the manhunt for Grimes begins.

INTERLUDE VI

SCENE TWO

Grimes is alone, seized by visions and tortured by the death of the two boys. In the distance is the sound of the mob calling his name. Ellen and Balstrode find him, but in his distressed state, he does not fully recognise them. Balstrode tells him to sail his boat out into deep water and sink it. Dawn breaks and Swallow reports that a boat is sinking out at sea. The Borough turns its back and goes about its business – as it always has, and always will.

PRODUCTION CREDITS

Music preparation
Richard Hetherington, Christopher Willis, Susanna Stranders, Michael Papadopoulos, Paul Wynne Griffiths, Michael Sikich, Mark Packwood and Ed Batting
Assistant Directors
Isabelle Kettle and Marco Berriel
Assistant Choreographer
Joanna O'Keeffe
Interlude projections
Justin Nardella

Michael Papadopoulos and Michael Sikich are members of the Jette Parker Young Artists Programme

THE ROYAL OPERA

Patron

HRH The Prince of Wales

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

DIGITAL CAST SHEETS

We are working to make the Royal Opera House more sustainable. To do this, some of the ways in which we share information have changed, including cast sheets.

You can view the digital cast sheets on a computer, tablet or smartphone. You can also download and print the digital cast sheet. Check the digital cast sheet for the most up-to-date information before the performance starts, during the interval, or after the performance day.

Scan the QR codes displayed around the building with a smartphone to view the latest digital cast sheets. The cast sheets are also displayed on screens outside the auditoria.

Cast sheets generously supported by the Royal Opera House Endowment Fund.

SAFETY GUIDELINES

The safety of our visitors, staff and artists is still our priority and we continue to have strict cleaning regimes and enhanced ventilation in place. There are hand sanitiser stations throughout the building. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Wearing a face mask is no longer required, but staff and visitors are welcome to wear one.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

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