I once did a paper on the novella this opera’s based on, The Turn of the Screw, back in grad school. Something about the whole thrust of the story having to do with, ultimately, Henry James’s weird revulsion to/fear of sexuality—any sexuality—gay, straight, bi, kinky, whatever. Which in my ignorant prejudice I took to be typical of all English men anytime, anywhere—until I remembered that James was born not just American but, like my son, a native New Yorker (used to take The Kid to the playground in Washington Square near James’s old house) and he turned out fine. It’ll be interesting to see what kind of textual interpretation OperaGlass Works, who’re engaging John Wilson for late March 2020, go with.

Luckily my English born-and-bred John has nothing to do with the story (really, James’s story is a creepy creepy story) on stage. He’ll be conducting members of his very own Sinfonia of London in the pit of Screw and this, mes amis, is a big deal, because this will be 1) the Sinfonia’s first public appearance since John (re)formed it a year ago, so it’s a chance for their fans to hear them in person; and 2) they get to play the music of Benjamin Britten together.


UPDATE 14 Nov 2020 : On 3 December 2020 BBC4 Radio will be streamcasting John Wilson and Opera Glassworks. From the BBC webpage:

The conductor John Wilson made his name restoring the historical scores of great Hollywood musicals. With the John Wilson Orchestra, he has been a fixture at the Proms for over a decade.

In March this year, he was at Wilton’s Music Hall in London, rehearsing Benjamin Britten’s Turn of The Screw for Opera Glassworks, when lockdown happened. All the tickets had been sold, the costumes were ready, the set was in place and the curtain about to go up. Then the production came to a crashing halt.

There was too much to lose, and this programme tells the story of how, months later, the opera was re-conceived, re-imagined and rescheduled under the new restrictions we are all learning to live in. John Wilson, along with the producers, decided to turn the staged performance into a film. Wilton’s is the perfect Victorian venue for this unsettling and ambiguous ghost story about the corruption of innocence.

In October, the singers came together again, only this time also with a film crew.

Covid restrictions meant the singers and musicians had to be recorded separately and in the most unorthodox ways. We follow John as he brings his meticulous and inspired vision of Britten’s opera to a new audience and a new format. We hear, day by day, what it was like being on set, how John worked in this ‘topsy turvey’ world as he described it, giving the singers the flexibility to interpret the opera and then later conducting the musicians having to fit round their recorded performances.

‘I do believe in making music for the joy of it,’ John says, ‘and we’re experiencing heightened levels of appreciation at the moment because it’s been taken away from us.’


CANCELLED: During Easter Week, the holiest week of the year for observing Catholics, John will be in Santiago, Chile conducting a me-tic-ulously chosen student orchestra, culminating in a concert on Easter Sunday consisting of the always-favorite Tchaikovsky’s Symphony No 4 and Rachmaninoff’s Piano Concerto No 3.

John Wilson Teatro del Lago.jpgNOTES for John’s new CD Escales (Chandos, 2020) can be found here.

RECORDED: Lastly, re “Meditation”, that short symphonic intermezzo between the scenes in Act 2 in the opera Thaïs (1893) by Jules Massenet, which my beloved John conducts on his new album (10th cut) and in which Andrew Haveron performs his violin solo like an angel:

Everybody, go away. I’m taking this to a private place.


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