L.A. Opera Smoothly Sails ‘Billy Budd’s’ Deep Waters

It’s a long way from the charming and wondrous artificialities of “Samson et Dalila” and “L’Elisir d’Amore” to the British naval rigors and ethical dilemmas of “Billy Budd.” But that distance, which marked Los Angeles Opera’s outside path from September 1999 to June 2000, has now been covered--brilliantly.

The company’s long-sought versatility seems to be operative. The evidence from Saturday night’s opening in the Dorothy Chandler Pavilion: a stunning and eye-filling physical production and top-flight, idiomatic musical performances in Benjamin Britten’s 49-year-old work.

It doesn’t hurt, in fact it is crucial, that Roderick Brydon, who conducted the previous three Britten operas given by this company, presides over this one with characteristic aplomb.

This production, which comes from the Royal Opera House, Covent Garden, is the handiwork of director Francesca Zambello, who staged it there five years ago. Here, she has been assisted by Bruce Brown, who oversees the movement sequences--busy and exacting in Act 1, and even more complicated in Act 2, when the set spectacularly splits in half to reveal the ship’s lower level.

It all works, and with surprisingly few distractions for the observer. Indeed, all the stage action adds credibility to the drama of the musical narrative. Major credits go to Alison Chitty, who designed sets and costumes, and to Alan Burrett, who accomplished the atmospheric lighting.

The performance of the all-male cast reverberates with able acting and effortless singing. The large chorus--including all the name characters--earns its perspiration, which looks real in any case. They are seconded gracefully by the Los Angeles Children’s Chorus.

The three principals hold the drama together. Robert Tear (Captain Vere), Rodney Gilfry (Billy Budd) and Jeffrey Wells (Claggart) act with both gusto and understatement, pronounce the English text clearly and maintain a followable musicality through all the score’s byways. Careful enunciation aside, one is still grateful for the supertitles projected above the proscenium and to the sides of the orchestra section.

Tear delineates the Captain’s dilemma in many details, both vocal and histrionic, singing with an irresistible sense of continuity and with wondrous, explorative word coloration.

Gilfry, with the physique du ro^le and his resourceful lyric baritone, treads a tightrope between physical exuberance and stoic forbearance, both of which mark the character of Billy Budd but can undermine believability if pressed. At this time, Gilfry owns the role in bearing, manner and vocal force. At the opening, he showed nothing to contradict his superiority.

Claggart, as interpreted by Wells, is a villain who accepts his own evil with a tired, even witty, cynicism. Handsomely sung and subtly characterized, this Claggart dominates his part of the stage incontrovertibly.

Among the others, strong support comes from Gabor Andrasy (Dansker), John McVeigh (Novice), Steven Goldstein (Squeak) and Richard Stilwell (Mr. Redburn).

Under Brydon’s careful and sweeping leadership, the Los Angeles Opera Orchestra carries much of the work’s dramatic weight. One flub aside, this was, in the pit too, a tightly balanced opening night.

* Los Angeles Opera repeats Britten’s “Billy Budd” in the Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A., Tuesday, Friday, next Sunday and June 14 at 7:30 p.m. and June 17 at 2 p.m. $27-$146. (213) 972-8001. The cast remains the same. Roderick Brydon is conductor, Francesca Zambello the stage director.