Æthelred the Unready by Wilson: Live Performance by Ensemble at Merkin Hall

Composer: Richard Wilson
Works: Æthelred the Unready: An Opera in Seven Scenes
Performers: Robert Osborne (Æthelred), Elizabeth Weigle (Emma), Drew Minter (Clio), Andrew Childs (William of Malmesbury), Jonathan Goodman (Publicist), Curtis Streetman (Hypnotist), Allen Blustine (clarinet), Rolf Schulte (violin), Dorothy Lawson (cello), Blanca Uribe (piano), Paul Hotstetter, Matthew Gold (percussion), Richard Wilson (conductor)
Recording: Live performance, Merkin Hall, NYC, May 2001
Label: Albany Troy 512

Richard Wilson, a composer whose career spans several decades, presents a unique facet of his creative output with Æthelred the Unready, a chamber opera that deftly intertwines historical narrative and contemporary wit. Written between 1992 and 1994, with revisions in 2001, this opera deftly navigates the life of Æthelred II, a figure historically maligned as indecisive. Wilson’s libretto incorporates a blend of historical anecdote and modern sensibility, crafting a narrative that is both engaging and amusing. The opera’s foundation rests on the chronicles of William of Malmesbury, yet it diverges into a realm of character-driven comedy that critiques the nature of leadership through the lens of Æthelred’s ineptitude.

The performance, conducted by the composer himself, showcases a tightly-knit ensemble of six players, a deliberate reduction from the original orchestration. This choice, while practical for smaller opera companies, presents a double-edged sword; it allows for clarity in the vocal lines, enhancing the comedic timing and lyrical delivery, yet it sacrifices some of the orchestral richness that could have elevated the dramatic moments. The ensemble performs with a spirited lightness, each instrumentalist contributing to the overall buoyancy of the score. The clarity of the recording captures the intricate interplay between voice and accompaniment, ensuring that Wilson’s clever wordplay is never obscured.

Wilson’s music is characterized by a playful harmonic language, where dissonance often underlines the irony of the libretto. For instance, during Emma’s attempts to rally Æthelred’s spirit, the music dances between major and minor modes, reflecting her desperation and the absurdity of her husband’s passivity. The ensemble’s execution of these shifts is commendable; Rolf Schulte’s violin and Allen Blustine’s clarinet weave seamlessly through the texture, providing both melodic and textural contrasts that enhance the narrative’s humor. However, the absence of significant set pieces or arias is notable, as the opera misses opportunities for lyrical introspection that could have underscored key emotional moments.

The recording quality is exceptionally clean, a testament to the engineering that allows the audience’s reactions to be heard without detracting from the performance. The audience’s laughter at appropriate junctures serves as an organic gauge of the opera’s comedic success. This live aspect contributes to the listener’s experience, creating a sense of immediacy and connection to the unfolding drama.

While Æthelred the Unready offers a thoughtful and entertaining exploration of its titular character, it does so with a certain superficiality that prevents it from resonating on deeper emotional levels. The balance of humor and historical narrative is well-executed, yet the lack of substantial arias or ensemble pieces diminishes its overall impact. This chamber opera stands as a fascinating work that, when staged, may unveil further dimensions of its characters and themes. The production is undoubtedly enjoyable and worthy of attention, particularly for those interested in contemporary operatic discourse, but it ultimately leaves one yearning for a more profound engagement with its historical subject matter.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.