In today's cynical society, how many can identify with The Father in The Prodigal Son?
The Father offers no harsh words and throws The Younger Son a party, even though his son blew through his inheritance, sinned in many varied ways, returns in poverty and hunger, only to be welcomed back into the fold without question. Who wouldn't offer their son a snide 'I told you so' alongside a waggling finger?
Not so here, although The Elder Son understandably complains about the fête in honor of the return of The Younger Son, all while The Elder Son stayed home and toiled in the fields. This seems an understandable contemporary reaction, common to the masses. Yet, understanding the charity behind someone falling from the path of high virtue only to return as a mightily humbled repentant believer unquestioned would represent the very best of humanity. This, I think, is the moral, and probably a tough look in the mirror today.
As far as the experiences of The Younger Son, I am oft reminded of The Rake's Progress, which tells of a man who goes off and indulges in life's pleasures and walks away empty and broken. The Prodigal Son expands on the idea by having The Younger Son come from a loving, dutiful, hard-working family, leaving home and work to experience life in the city, only to come back fully acknowledging his wrongs and prepared for the harshest of consequences. What he receives is the unfaltering love of The Father.
I should mention a character is added to The Prodigal Son parable in the form of The Tempter, the voice inside of The Younger Son's head telling him to give into his wants and desires. Whether this is a metaphorical Tempter or an actual person, I am uncertain, although I suspect the former. The role reminds me of The Fantasticks, a small-scale Off-Broadway show from the 70s that is a cross between Romeo & Juliet and The Rake's Progress. There, a shady, devil-like character pushes a young man to experience life to the fullest, only to come back bedraggled, alone, and beaten down, but all the more wiser.
It would be very easy to have a riotous musical time following The Younger Son through his newly experienced vices. While Britten provides a nice contrast to the glum atmosphere at home versus the debauchery of the city, this section is not a meretricious affair. Time is given instead to a brassy trumpet, boys voices, and highly rhythmic drumming, while The Tempter creepily slithers in sprechstimme.
If you have heard Britten's two earlier Church Parables, Curlew River (BLOG) and The Fiery Burning Furnace (BLOG), the structure is similar. A bookended sequence in a medieval Abbey introduces and concludes the Christian mystery, while a Japanese Noh-influenced instrumental portion switches the scene-and-setting to-and-from the Parable. This influence is also visualized in the masks the characters wear, seen in the provided cover art above.
Britten's music is fully modern sounding while existing in a tonal landscape. The chamber instrumentation retains the octet of instrumental soloists from Curlew River, plus some extra percussion, while adding trumpet and alto flute, coming together to make a uniquely colored musical experience. Appreciably, the pipe organ is given a curious, slightly dominant role. Some might find the music too difficult or challenging, but spending time with Britten's music always reaps rewards.
The cast list is a tad smaller here, with Peter Pears, John Shirley-Quirk, and Robert Tear taking the lion-share of the singing. One couldn't ask for better from these fine vocalists, and the chorus from the English Opera Group is wonderful. The Decca audio fidelity in each of these parables remains terrific, plus I enjoy the production photos on each of these Britten releases.
As with The Fiery Burning Furnace, I don't think Britten ever found the same magic as he did in Curlew River, the first of the composer's church parables. Perhaps this is due to an actual Japanese Noh production being adapted into Curlew River, whereas the latter two are straight from The Bible. The Prodigal Son at least allows the listener feelings for this family, emotions any listener can identify with, no matter the role or life experience.
Works
The Prodigal Son
Soloists
Peter Pears as The Tempter
John Shirley-Quirk as The Father
Bryan Drake as The Elder Son
Robert Tear as The Younger Son
Richard Adeney, flute
Philip Jones, trumpet
Neill Sanders, horn
Cecil Aronowitz, viola
Keith Marjoram, double bass
Osian Ellis, harp
James Blades, percussion
Philip Ledger, organ
Performers
English Opera Group
Benjamin Britten, conductor
Label: Decca
Year: 1969; 1990
Total Timing: 68.30
Britten's music is, as always, interesting, although those averse to the composer's brand of dissonance and modern musical settings should proceed with caution.
Otherwise, this is a terrific production, with singers and instrumentalists of the highest caliber. The late-60s vantage point may strike contemporary listeners as either timely or novel.
Still, I cherish Curlew River most among Britten's three church parables.
2 comments:
A lesson to revisit regularly. To be like the father and not the disgruntled son.
Indeed it is Karl!
There is a good reason so much of the church year is dedicated to the Season of Pentecost. Lessons and parables are there for each of us to strive for, even if it is often difficult to apply them in our daily secular lives.
By the way, thank you for stopping by to read my recorded ramblings! I hope all is going well for you.
Post a Comment