Barbican Hall, 23 November 2013

The BBC’s Britten anniversary celebrations have brought us some highly impressive events but surely none as joyful as this staging of Albert Herring. Announced as semi-staged, this could mean anything from soloists moving about with scores in their hands to something which could easily transfer to a small theatre without anybody noticing the difference.

In the event, Kenneth Richardson’s approach was full of intimate details and subtle character references which drew strength from working around the ensemble under Steuart Bedford rather than ignoring it. Albert’s slightly inebriated stroll from one side of the platform to the other seemed confused, if eventually pleased, to come upon an orchestra on his travels and delighted to find the shop bell above the piano.

The cast were drawn from strength and all outstanding. There was an unexpected frisson with Lady Billows in the second act when we hear the Tristan music. The last time I recall hearing Christine Brewer in this hall was as Isolde! Her Lady Billows grew in pomposity and strength as the evening progressed and Albert’s stand-off at the end was certainly not the last they would hear from her. Catherine Wyn-Rogers was very much her equal as Albert’s mum, and one could see how supressed not only Albert but the rest of society was with such formidable women in control.

Under the circumstances Roderick Williams’ Rev Gedge is a master of diplomacy, saving the day again and again in the face of near disaster.

Sid and Nancy, Marcus Farnsworth and Kitty Whately, are the nearest thing Britten created to a normal heterosexual couple whose future one can believe in, and they sparred magnificently even as they plotted.

The children were splendid, led by Gillian Keith’s Miss Wordsworth who implied a stronger character than is often the case, but having to stand up to Lady Billows and the formidable Florence Pike of Gaynor Keeble it was no wonder.

Andrew Staples is a very subtle Albert. He starts quietly and gently, not so much under mum’s thumb as happy to know his place, but the act one solo indicates his frustration and this builds slowly but menacingly as the evening proceeds. His reluctance to join the party and to follow what is going on was totally convincing, as was his reply after all the gushing nonsense which he had been forced to sit through. It was almost as if he was playing them at their own game. The final scene made it clear that for this young man there was no going back, whatever that meant in terms of his own sexuality.

The musicians on stage created the glorious mirage that Britten requires, frequently sounding far richer than a mere twelve instruments, while Steuart Bedford held everything together as if it was all in a day’s work – the quintessence of professionalism. As this went out live on Radio3 let us hope the recording becomes available soon. BH

photos: BBC Mark Allan