Yes, the hut scene is very complex. I thought Langridge's "Mad Scene" was very shattering. I don't have his CD - I hardly ever listen to CDs of Grimes except the original, though I go to any live performance I can.

The technical comments were interesting, too. I've always been aware that Grimes is very difficult to sing, because so few people seem to able to do it well. I wonder how Jeffrey Lloyd-Roberts will sound on R3 on Friday? He certainly convinced me at the time!

Here's a nice picture of composer and interpreter:

# 15         A real treat for Sunday, Mary.     Thank you so much.


               Best wishes,            Stanley

I've never been too happy with the "fair white doorstep", either. On the 1948 recording (excerpts issued for the first time in 1993) he sings "whitened", and just about gets there.

Don't start me...

I agree. An excellent programme and almost everything Philip Langridge had to say was pregnant with insight and interest and well worth mulling over. Definitely one for 'Listen Again'. I particularly liked the moment when he was talking about how unreal it was to assume that Grimes was the only one who had boy apprentices from the workhouse. Very probably all the fishing boats would have them too. 'If I were directing it, the stage would be full of apprentices.....' and then made some self-deprecating comment about how unlikely that would be. After today's programme, yes please, I'd love to see a Langridge directed Grimes happen when he eventually retires as a singer.

One tiny niggle, but so easy to correct, please John Evans or your producer, don't jump in before the musical excerpts have even died away. I promise not to change channels if you pause for two seconds, but I might well if you speak over the music again.

As for Vickers.... well, theatrically it was really dangerous and frightening and I wouldn't want to be without it as a performance. That's not the same as saying that anyone other than Vickers should ever be encouraged to try and do the same thing.

I've just been listening to the Lucretia programme. I think Janet Baker has changed her mind (and why not?) about some aspects of Lucretia's character and motivation since I last heard her talk about it. Some very interesting comments.

It was a programme for the converted, I felt. All that Colin, Kathleen, Nancy, Peter stuff - surnames barely mentioned!  Because it was concentrating, naturally, on Lucretia's part, we didn't get to hear superb things like The Ride to Rome. Not an easy opera to extract bits from - Grimes lends itself more to that. Lucretia needs, even more, to be seen live if possible. I saw the last production in the Linbury, which was excellent and illuminating.

this series has been superb - I've gained many insights into the operas esp from Janet Baker  - I only hope the one on Budd keeps up this very high standard.  These programs are R3 at its best.

Absolutely agree, Mary and Frances. It's proving a superb series and, with the guests to date, I've been hanging on  every single word both they and John Evans have to say. Real two way conversations going on too, not just 'interviews'. Sunday afternoons at 3.00 have become essential listening. With yesterday's programme the doubts I used to have about Albert Herring have been swept away and you can't ask for more than that.

I agree about Simon Keenlyside being a magnificent Billy Budd, Mary. But can I ask what you thought of Thomas Allen? He was my first (and second and third) Budd so perhaps that affects how I judge these things but for me he has always been 'the' Billy Budd and just pips Keenlyside at the post (not that it's a competition of course). A very fine actor too. The poor man always looked utterly drained and exhausted at the end.