Breathtaking “Turn of the Screw” Performance Stuns at Royal Opera: See What Critics Are Saying!

Settled in comfortably? The opera by Britten, The Turn of the Screw, initiates with a tenor who sets the stage by narrating the tale, presenting the facts of the story that will soon become elusive in this ghostly narrative. In the Royal Opera’s latest rendition, the scene opens in complete darkness, enhancing the focus on the narrative—yet, as the scene progresses, it becomes evident that the tenor is moving through the shadows, eluding any attempt to visually locate him. This disorientation creates an eerie prelude even before any light reveals the stage, setting the tone for a production rich in chilling and profound interpretations directed by Natalie Abrahami and designed by Michael Levine.

The scenic design subtly hints at a conventional country mansion, complete with doors, beds, and a desk that seems to haunt the Governess. Duncan McLean’s video projections on an invisible screen at the forefront frequently reveal faces from concealed angles: the children peering eagerly from a window as their new governess approaches, their glances betraying a secret anticipation of someone else; Flora, positioned on a jetty, playfully dipping her doll in the lake while submerging her own face in the water.

Both Abrahami and Levine draw inspiration from the WB Yeats quote – “the ceremony of innocence is drowned” – a line used by Myfanwy Piper in her libretto. Remarkably, water plays a pivotal role throughout the staging. It lurks beneath the house, only to surface as the stage floor fragments into movable platforms. These platforms, manipulated by the ghosts and their two mute doubles, facilitate various clever diversions, enhancing the Governess’s feelings of desperation and helplessness against adversaries who seem omnipresent.

While water adds a dynamic element, a ghost that splashes is arguably less menacing than one that glides silently. Nonetheless, these sounds pale in comparison to the rich, intricate performance led by conductor Bassem Akiki, who extracts profound emotion and skill from the 13 orchestra members and his superb cast. The production boasts an intense performance by the rising soprano Isabelle Peters as the Governess; a heartfelt Mrs. Grose portrayed by Claire Barnett-Jones; an unpredictable yet compelling Peter Quint by Elgan Llŷr Thomas; and a sumptuous Miss Jessel by Kate Royal, who makes a notable return to the stage after a hiatus.

The children, portrayed with remarkable nuance and presence by Phoenix Matthews as the wise-beyond-his-years Miles and 11-year-old Emilia Blossom Ostroumoff as the defiant Flora, often a role played by adults mimicking youth, add depth to the ensemble. The tension built up through the performance is only dispelled when Akiki and the production team, barefoot, join the cast on stage for their final bow.