Billy Budd
Billy Budd by Benjamin Britten is my Very Favorite Thing. Such is my love for this beautiful, powerful, amazing, gripping opera that I want to infect EVERYONE with my love for it! So I shall summarize and commentate upon it. Today
briggfair , tomorrow the WORLD!
Below: Theodor Uppman, the original operatic Billy Budd.
When Britten first saw him, he remarked "Well you certainly look like Billy!"
General Info
Opera by Benjamin Britten, 1951
Libretto (English) by E. M. Forster and Eric Crozier
Based on the unfinished Herman Melville novella of the same title, aka Billy Budd, Sailor and Billy Budd, Foretopman
See also the wikipedia entry
Main characters:
Billy Budd, foretopman - baritone
Edward Fairfax Vere, captain - tenor
John Claggart, master-at-arms - bass
Super-short Summary:
Aboard HMS Indomitable, evil master-at-arms Claggart wants to destroy loveable sailor Billy Budd. Billy accidentally kills him, and Capt. Vere unhappily has Billy hanged.
Notes:
The opera takes place in 1797 soon after the Spithead and Nore mutinies while England was at war with France. Because of the recent mutinies, and because many of the seamen were pressed into service against their will, tensions were high and punishment severe.
There are two versions of the opera, a 2-act and a 4-act version. They’re primarily the same, with the 2-act version blending scenes more seamlessly together into larger acts instead of breaking them into smaller acts. The primary difference is the Act 1 finale “captain’s muster” scene, which is absent in the 2-act version. The 2-act version is more commonly performed today, and was a later revision by Britten. The original 4-act version is what I’m more used to, however, having the Erato recording, so that’s what I will use for my synopsis.
Grace’s Longer Synopsis with Personal Comments
Prologue:
As an old man, Vere’s memory is clouded and disturbed, thinking back on troubling events from his earlier life, “in the summer of
seventeen-hundred and ninety-seven, in the French wars, in the difficult and dangerous days after the mutinies at the Nore, in the days when I, Edward Fairfax Vere, commanded the Indomitable.”
Act 1
Aboard the Indomitable, sailors are holystoning, hoisting yards, hauling lines, clearing gangways and other nautical things under harsh supervision. An unfortunate and terrified young novice is dragged away to receive 20 lashes.
The cutter returns from the nearby merchantman Rights O’ Man, having pressed 3 men from the ship. The master-at-arms Claggart (obviously evil from his accompanying ominous music) questions them. The first two are fearful, reluctant and generally useless, but the third is Billy Budd, able seaman. He is young, handsome, strong, good-natured and enthusiastic about a new naval life. The officers remark on their fabulous find, particularly Claggart who calls him “a king’s bargain.” He only appears to have one flaw - he stammers when nervous.
They assign him to the foretop, which he enthusiastically accepts, but they are disturbed when he calls to his former ship, “Farewell, Rights o’ Man!” The officers wonder if he’s making a revolutionary statement and advise Claggart to watch him. Claggart can tell that he’s completely guileless, but he has his own reasons for watching him. He orders his corporal “Squeak” to be his spy and cause trouble for Billy.
Billy is disturbed when he encounters the young novice returning from his flogging, completely heartbroken and unable to walk. (When I first saw the opera, the poor lad was naked and covered with bloody stripes. He was clutching his clothes in front of him as his friends helped him limp along.) The sailors warn Billy about harsh punishment, especially from the master-at-arms (whom they call Jemmy-legs).
However, Billy is inclined to like Claggart who seems to show him favorable attention, and he ignores the sailors’ warnings. Everyone agrees that they love the captain though, whom they call “Starry Vere.” At this point, Vere musters the crew and delivers a rousing speech, stirring everyone’s enthusiasm and inspiring Billy’s loyalty. (In the 2-act version, the sailors simply describe their wise and good captain to Billy.)
Act 2
Near Finisterre, Vere drinks wine with officers in his cabin and discusses the Spithead and Nore mutinies. The officers worry about the possibility of mutiny on their own ship and mention Billy’s “rights of man” incident. But Vere has noticed Billy’s “youthful high spirit” with approval, and he assures them with a smile that there is “no danger there, gentlemen.”
Below, the sailors relax and make merry (in the most FUN part of the opera). By now Billy is an obvious favorite, singing, dancing, joking, and sharing tobacco. He finds Squeak trying to steal things, and they fight (the big strong Billy easily winning). Angry at Squeak’s incompetence, Claggart sends him off to be punished and congratulates Billy, crooning, “Handsomely done, me lad, and handsome is as Handsome did it, too!”
Later, alone, Claggart continues to contemplate Billy’s handsomeness in the most beautiful EVIL soliloquy of pure malevolence! (It reminds me somewhat of Scarpia’s Act 1 finale in Tosca, so wickedly ambitious and triumphant!) “Oh beauty, oh handsomeness, goodness - would that I’d never seen you!” Billy has upset Claggart’s world, and Claggart determines that he cannot allow him to live. “I will mutilate and silence the body where you dwell. It shall hang from the yardarm, it shall fall into the depths of the sea, and all shall be as if nothing had been. No, you cannot escape! With hate and envy, I am stronger than love.”
Now the poor terrified novice approaches Claggart, who has worked out a protection scheme in return for the boy implicating Billy in a mutiny plot. The reluctant novice tries to bribe Billy to join a mutiny, but Billy sends him away angrily. His friend Dansker believes that Claggart is behind it all, but Billy insists, “But Jemmy-legs likes me!”
Act 3
On deck, the officers fret about the mist. Claggart is about to tell Capt. Vere about the dangerous mutineer on board, when the maintop sights an enemy sail on starboard bow. There follows a marvelously exciting “beat to quarters” scene with gunners, powder monkeys, marines, boarding volunteers and everyone running about in orderly chaos to prepare for battle. But alas, after firing their first shot, the Frenchman shows her heels and the mist descends again, forcing them to abandon chase. (Everyone is gloomy, but Vere orders double grog for all hands, considerate captain that he is.)
Now Claggart returns to tell the captain about this mutineer - who is it? It’s William Budd, the foretopman! Vere is incredulous, warning him that “there’s a yardarm for a false witness!” But it’s his duty to investigate the accusation, so he summons Billy. Billy is overflowing with enthusiasm, thinking he’s been called for promotion, and his loyalty and good nature reassure Vere. (It really is quite touching and adorable.) But Billy must be allowed to hear Claggart’s accusation face to face. When Claggart accuses him of mutiny, Billy is appalled, horrified, too startled to speak. He tries to reply, but can only stammer, and in his helpless frustration and anger, he lashes out and strikes Claggart, who falls to the floor dead.
Vere and Billy are now both appalled. Vere decides upon immediate action and summons his officers for an immediate drumhead court. After questioning Billy, they send him away to wait, but not before he cries out, "Captain Vere, save me! I'd have died for you - save me!" Vere insistently remains neutral as an impartial witness (“the sole earthly witness” of the crime), and his reluctant officers have no choice but to condemn Billy to death according to the Articles of War, both for striking a superior officer and for committing murder. This is in spite of their own dislike for Claggart and knowledge of his character, their general admiration of Billy, and the appreciation of a strange circumstance with Claggart’s false accusation. (The poor officers beg the captain to help or advise them, probably hoping he can suggest some loophole, but he refuses to participate in the formation of their judgment.)
Now Vere leaves to tell Billy of their verdict. In the book, no one knew what happened in that interview, or what they said to each other, and the opera is the same. With the stage empty, the orchestra playes a series of 34 chords in succession, the “interview chords” as they’re sometimes called. They’re beautiful and excruciatingly enigmatic. (What do they mean? What did he say? What happened?)
Act 4:
Locked in irons below, Billy is melancholy while he waits for execution. He sings my favorite most beautiful aria, “Billy in the darbies,” (which is lifted directly from the Melville book where it appears in the form of a popular navy ballad that would be written about Billy later). His friend Dansker pays a secret visit and Billy, feeling heartened, tells him that he has no ill-will for the captain and he feels content and peaceful about his death.
On deck, the Articles of War are read and the noose is put around Billy’s neck. Before he is hanged, he cries out heartily, “Starry Vere, God bless you!” and the sailors echo him automatically, spellbound. Then the deed is done, and he is hanged (usually offstage, but sometimes on.) Now the spell is broken and the sailors erupt into an angry cry of protest until the officers force them below.
Epilogue
Now the aged Vere remembering the events admits, “But I could have saved him, I could have saved him. He knew it; even his shipmates knew it, though earthly laws silenced them. Oh what have I done??” But remembering the forgiveness in Billy’s parting blessing, his mind is finally able to go back in peace.
*
The first time I saw the opera, the ending was positively riveting. Vere sings his final monologue alone on stage, with the orchestra fading to silence so he’s singing a cappella. There was only one dim spotlight on him, and the orchestra even turned off the little lights on their music stands as he was singing his last lines in the silent listening hall. Then he turned and slowly walked offstage as the light dimmed, and then there was complete darkness, stillness and silence, with no one daring to move or breathe. It was as if Britten had written the silence into the score, several bars of it. Not bars of rests, but bars of rigid unbreathing frozen silence, exquisite strain to preserve the effect of our enchantment for a few moments longer. Magical.
I adore Billy. Who could not? (Unless one was an evil master-at-arms.) The first time I saw the opera, I knew little about it and had almost NO preconceptions (except, “Weird, opera in English instead of something nice like French or Italian, and weird, it’s all men and takes place on a ship. And 20th century music, that will be weird.”) (Of course, those thoughts didn't last long!)
The second (and last) time I saw the opera, how differently I loved it! This time, I was sometimes unconsciously mouthing the words (though not humming Jack Aubrey style - I would NEVER do such a thing, nor beat the time with my hand or tap my foot). I was on the edge of my seat, anticipating every note. During the second half I managed to find a much closer seat on the 3rd row (at the Kennedy Center in Washington DC) which had lesser acoustics but a better view, and I did want to SEE all the subtle facial expressions and gestures. Especially Billy’s. I had come all the way from North Carolina because 1) it was my favorite opera and 2) because Dwayne Croft was singing Billy, whom I had adored on the Metropolitan Opera TV broadcast in the same role. And he was delightful, adorable.
And while watching it, I thought to myself, “I want to give Billy a hug. I MUST GIVE BILLY A HUG.” I was possessed by this thought! I felt absolutely determined and unstoppable. So afterwards, I found a door that said “Do not enter,” and I entered, finding my way backstage and wandering around nonchalantly as if I knew exactly what I was doing and had every right to be there. (What was the worst that could happen, anyway?) I found signs in stairwells and managed to reach the dressing rooms - and there was Dwayne Croft! (There also was Samuel Ramey who had played Claggart). A few other people were milling about paying their respects, but I waited until they were finished. Then I approached Dwayne Croft both shyly and boldly and said, “I’m Grace… Can I give you a hug??” He laughed and said, “Sure!” and he gave me, oh, such a big strong comfortable happy Billy Buddish hug! Then I told him that it was my favorite opera, and I didn’t think anyone in the audience could have enjoyed it as much as I did, and we had the most delightful chat about the opera! It’s his favorite too! It was just so pleasant to talk about it with him, and he was such a delightful man! (I talked to Sam Ramey too, but he was rather intimidating, making me stammer like poor Billy! He was a nice man, but he listened so intently as if what I was saying was extremely important, making me feel quite unworthy and foolish!)
Afterwards, outside, Dwayne Croft saw me again where I was waiting for the bus (he recognized me before I recognized him) and he called out “Good night!” and waved. Hee. I wanted to tell all the other opera patrons around me, “That was Billy Budd calling out good night to ME.” I swoon at the memory.
And that, dear friends, is my tale of Billy Budd.
ETA: Here's a link to the Erato recording at Amazon with sound clips you can listen to. (Track 12 on disc 2 "Look, through the port comes the moonshine astray" is the aforementioned "Billy in the darbies." It's a very short clip though, alas.)
___________________________________________________________________
images are from various random productions on random websites
briggfair , tomorrow the WORLD!
Below: Theodor Uppman, the original operatic Billy Budd.
When Britten first saw him, he remarked "Well you certainly look like Billy!"
General Info
Opera by Benjamin Britten, 1951
Libretto (English) by E. M. Forster and Eric Crozier
Based on the unfinished Herman Melville novella of the same title, aka Billy Budd, Sailor and Billy Budd, Foretopman
See also the wikipedia entry
Main characters:
Billy Budd, foretopman - baritone
Edward Fairfax Vere, captain - tenor
John Claggart, master-at-arms - bass
Super-short Summary:
Aboard HMS Indomitable, evil master-at-arms Claggart wants to destroy loveable sailor Billy Budd. Billy accidentally kills him, and Capt. Vere unhappily has Billy hanged.
Notes:
The opera takes place in 1797 soon after the Spithead and Nore mutinies while England was at war with France. Because of the recent mutinies, and because many of the seamen were pressed into service against their will, tensions were high and punishment severe.
There are two versions of the opera, a 2-act and a 4-act version. They’re primarily the same, with the 2-act version blending scenes more seamlessly together into larger acts instead of breaking them into smaller acts. The primary difference is the Act 1 finale “captain’s muster” scene, which is absent in the 2-act version. The 2-act version is more commonly performed today, and was a later revision by Britten. The original 4-act version is what I’m more used to, however, having the Erato recording, so that’s what I will use for my synopsis.
Grace’s Longer Synopsis with Personal Comments
Prologue:
As an old man, Vere’s memory is clouded and disturbed, thinking back on troubling events from his earlier life, “in the summer of
seventeen-hundred and ninety-seven, in the French wars, in the difficult and dangerous days after the mutinies at the Nore, in the days when I, Edward Fairfax Vere, commanded the Indomitable.”
Act 1
Aboard the Indomitable, sailors are holystoning, hoisting yards, hauling lines, clearing gangways and other nautical things under harsh supervision. An unfortunate and terrified young novice is dragged away to receive 20 lashes.
The cutter returns from the nearby merchantman Rights O’ Man, having pressed 3 men from the ship. The master-at-arms Claggart (obviously evil from his accompanying ominous music) questions them. The first two are fearful, reluctant and generally useless, but the third is Billy Budd, able seaman. He is young, handsome, strong, good-natured and enthusiastic about a new naval life. The officers remark on their fabulous find, particularly Claggart who calls him “a king’s bargain.” He only appears to have one flaw - he stammers when nervous.
They assign him to the foretop, which he enthusiastically accepts, but they are disturbed when he calls to his former ship, “Farewell, Rights o’ Man!” The officers wonder if he’s making a revolutionary statement and advise Claggart to watch him. Claggart can tell that he’s completely guileless, but he has his own reasons for watching him. He orders his corporal “Squeak” to be his spy and cause trouble for Billy.
Billy is disturbed when he encounters the young novice returning from his flogging, completely heartbroken and unable to walk. (When I first saw the opera, the poor lad was naked and covered with bloody stripes. He was clutching his clothes in front of him as his friends helped him limp along.) The sailors warn Billy about harsh punishment, especially from the master-at-arms (whom they call Jemmy-legs).
However, Billy is inclined to like Claggart who seems to show him favorable attention, and he ignores the sailors’ warnings. Everyone agrees that they love the captain though, whom they call “Starry Vere.” At this point, Vere musters the crew and delivers a rousing speech, stirring everyone’s enthusiasm and inspiring Billy’s loyalty. (In the 2-act version, the sailors simply describe their wise and good captain to Billy.)
Act 2
Near Finisterre, Vere drinks wine with officers in his cabin and discusses the Spithead and Nore mutinies. The officers worry about the possibility of mutiny on their own ship and mention Billy’s “rights of man” incident. But Vere has noticed Billy’s “youthful high spirit” with approval, and he assures them with a smile that there is “no danger there, gentlemen.”
Below, the sailors relax and make merry (in the most FUN part of the opera). By now Billy is an obvious favorite, singing, dancing, joking, and sharing tobacco. He finds Squeak trying to steal things, and they fight (the big strong Billy easily winning). Angry at Squeak’s incompetence, Claggart sends him off to be punished and congratulates Billy, crooning, “Handsomely done, me lad, and handsome is as Handsome did it, too!”
Later, alone, Claggart continues to contemplate Billy’s handsomeness in the most beautiful EVIL soliloquy of pure malevolence! (It reminds me somewhat of Scarpia’s Act 1 finale in Tosca, so wickedly ambitious and triumphant!) “Oh beauty, oh handsomeness, goodness - would that I’d never seen you!” Billy has upset Claggart’s world, and Claggart determines that he cannot allow him to live. “I will mutilate and silence the body where you dwell. It shall hang from the yardarm, it shall fall into the depths of the sea, and all shall be as if nothing had been. No, you cannot escape! With hate and envy, I am stronger than love.”
Now the poor terrified novice approaches Claggart, who has worked out a protection scheme in return for the boy implicating Billy in a mutiny plot. The reluctant novice tries to bribe Billy to join a mutiny, but Billy sends him away angrily. His friend Dansker believes that Claggart is behind it all, but Billy insists, “But Jemmy-legs likes me!”
Act 3
On deck, the officers fret about the mist. Claggart is about to tell Capt. Vere about the dangerous mutineer on board, when the maintop sights an enemy sail on starboard bow. There follows a marvelously exciting “beat to quarters” scene with gunners, powder monkeys, marines, boarding volunteers and everyone running about in orderly chaos to prepare for battle. But alas, after firing their first shot, the Frenchman shows her heels and the mist descends again, forcing them to abandon chase. (Everyone is gloomy, but Vere orders double grog for all hands, considerate captain that he is.)
Now Claggart returns to tell the captain about this mutineer - who is it? It’s William Budd, the foretopman! Vere is incredulous, warning him that “there’s a yardarm for a false witness!” But it’s his duty to investigate the accusation, so he summons Billy. Billy is overflowing with enthusiasm, thinking he’s been called for promotion, and his loyalty and good nature reassure Vere. (It really is quite touching and adorable.) But Billy must be allowed to hear Claggart’s accusation face to face. When Claggart accuses him of mutiny, Billy is appalled, horrified, too startled to speak. He tries to reply, but can only stammer, and in his helpless frustration and anger, he lashes out and strikes Claggart, who falls to the floor dead.
Vere and Billy are now both appalled. Vere decides upon immediate action and summons his officers for an immediate drumhead court. After questioning Billy, they send him away to wait, but not before he cries out, "Captain Vere, save me! I'd have died for you - save me!" Vere insistently remains neutral as an impartial witness (“the sole earthly witness” of the crime), and his reluctant officers have no choice but to condemn Billy to death according to the Articles of War, both for striking a superior officer and for committing murder. This is in spite of their own dislike for Claggart and knowledge of his character, their general admiration of Billy, and the appreciation of a strange circumstance with Claggart’s false accusation. (The poor officers beg the captain to help or advise them, probably hoping he can suggest some loophole, but he refuses to participate in the formation of their judgment.)
Now Vere leaves to tell Billy of their verdict. In the book, no one knew what happened in that interview, or what they said to each other, and the opera is the same. With the stage empty, the orchestra playes a series of 34 chords in succession, the “interview chords” as they’re sometimes called. They’re beautiful and excruciatingly enigmatic. (What do they mean? What did he say? What happened?)
Act 4:
Locked in irons below, Billy is melancholy while he waits for execution. He sings my favorite most beautiful aria, “Billy in the darbies,” (which is lifted directly from the Melville book where it appears in the form of a popular navy ballad that would be written about Billy later). His friend Dansker pays a secret visit and Billy, feeling heartened, tells him that he has no ill-will for the captain and he feels content and peaceful about his death.
On deck, the Articles of War are read and the noose is put around Billy’s neck. Before he is hanged, he cries out heartily, “Starry Vere, God bless you!” and the sailors echo him automatically, spellbound. Then the deed is done, and he is hanged (usually offstage, but sometimes on.) Now the spell is broken and the sailors erupt into an angry cry of protest until the officers force them below.
Epilogue
Now the aged Vere remembering the events admits, “But I could have saved him, I could have saved him. He knew it; even his shipmates knew it, though earthly laws silenced them. Oh what have I done??” But remembering the forgiveness in Billy’s parting blessing, his mind is finally able to go back in peace.
*
The first time I saw the opera, the ending was positively riveting. Vere sings his final monologue alone on stage, with the orchestra fading to silence so he’s singing a cappella. There was only one dim spotlight on him, and the orchestra even turned off the little lights on their music stands as he was singing his last lines in the silent listening hall. Then he turned and slowly walked offstage as the light dimmed, and then there was complete darkness, stillness and silence, with no one daring to move or breathe. It was as if Britten had written the silence into the score, several bars of it. Not bars of rests, but bars of rigid unbreathing frozen silence, exquisite strain to preserve the effect of our enchantment for a few moments longer. Magical.
I adore Billy. Who could not? (Unless one was an evil master-at-arms.) The first time I saw the opera, I knew little about it and had almost NO preconceptions (except, “Weird, opera in English instead of something nice like French or Italian, and weird, it’s all men and takes place on a ship. And 20th century music, that will be weird.”) (Of course, those thoughts didn't last long!)
The second (and last) time I saw the opera, how differently I loved it! This time, I was sometimes unconsciously mouthing the words (though not humming Jack Aubrey style - I would NEVER do such a thing, nor beat the time with my hand or tap my foot). I was on the edge of my seat, anticipating every note. During the second half I managed to find a much closer seat on the 3rd row (at the Kennedy Center in Washington DC) which had lesser acoustics but a better view, and I did want to SEE all the subtle facial expressions and gestures. Especially Billy’s. I had come all the way from North Carolina because 1) it was my favorite opera and 2) because Dwayne Croft was singing Billy, whom I had adored on the Metropolitan Opera TV broadcast in the same role. And he was delightful, adorable.
And while watching it, I thought to myself, “I want to give Billy a hug. I MUST GIVE BILLY A HUG.” I was possessed by this thought! I felt absolutely determined and unstoppable. So afterwards, I found a door that said “Do not enter,” and I entered, finding my way backstage and wandering around nonchalantly as if I knew exactly what I was doing and had every right to be there. (What was the worst that could happen, anyway?) I found signs in stairwells and managed to reach the dressing rooms - and there was Dwayne Croft! (There also was Samuel Ramey who had played Claggart). A few other people were milling about paying their respects, but I waited until they were finished. Then I approached Dwayne Croft both shyly and boldly and said, “I’m Grace… Can I give you a hug??” He laughed and said, “Sure!” and he gave me, oh, such a big strong comfortable happy Billy Buddish hug! Then I told him that it was my favorite opera, and I didn’t think anyone in the audience could have enjoyed it as much as I did, and we had the most delightful chat about the opera! It’s his favorite too! It was just so pleasant to talk about it with him, and he was such a delightful man! (I talked to Sam Ramey too, but he was rather intimidating, making me stammer like poor Billy! He was a nice man, but he listened so intently as if what I was saying was extremely important, making me feel quite unworthy and foolish!)
Afterwards, outside, Dwayne Croft saw me again where I was waiting for the bus (he recognized me before I recognized him) and he called out “Good night!” and waved. Hee. I wanted to tell all the other opera patrons around me, “That was Billy Budd calling out good night to ME.” I swoon at the memory.
And that, dear friends, is my tale of Billy Budd.
ETA: Here's a link to the Erato recording at Amazon with sound clips you can listen to. (Track 12 on disc 2 "Look, through the port comes the moonshine astray" is the aforementioned "Billy in the darbies." It's a very short clip though, alas.)
___________________________________________________________________
images are from various random productions on random websites