A haunting tale of a mother’s grief and a parable of faith and redemption converged at the Aldeburgh Festival, where Benjamin Britten’s “Curlew River” and its Japanese inspiration, “Sumidagawa,” shared the stage in a poignant and thought-provoking double bill. Performed by the Britten Pears Arts ensemble under the direction of conductor Jonathan Nott, the two works, separated by centuries and cultures, resonated with a shared humanity, exploring themes of loss, longing, and the transcendent power of music.
A Tale of Two Rivers, A Tapestry of Grief
“Sumidagawa” (Sumida River), a classic of Japanese Noh theatre dating back to the 15th century, lays the groundwork for this emotional journey. The story follows a distraught mother, portrayed with heartbreaking grace by mezzo-soprano Lucy Schaufer, as she searches for her abducted son. Her desperate pilgrimage leads her to the banks of the Sumida River, where a ferryman, sung with a blend of empathy and detachment by tenor Allan Clayton, reveals the devastating truth: her son is dead, his spirit lingering nearby.
“Curlew River,” Britten’s 1964 adaptation of the Noh play, transposes the story to a medieval English setting, yet retains the essence of the original’s emotional core. The Madwoman, sung with raw intensity by tenor Mark Padmore, becomes a figure of both anguish and disturbing fascination as she searches for her lost child.
Musical Echoes Across Time and Cultures:
Despite their contrasting musical languages, “Sumidagawa” and “Curlew River” resonate with a shared sonic sensibility. The sparse yet evocative score of “Sumidagawa,” performed with precision and sensitivity by a chamber ensemble of traditional Japanese instruments, evokes a sense of timelessness, emphasizing the universality of the mother’s grief.
Britten’s score for “Curlew River,” while rooted in Western musical traditions, incorporates elements of Japanese musical aesthetics. The use of pentatonic scales, the interplay of solo voice and chorus, and the austere beauty of the instrumental writing create a soundscape that feels both familiar and strangely otherworldly.
Ritual and Transformation:
Both works employ elements of ritual and transformation, blurring the lines between reality and spirituality. In “Sumidagawa,” the act of storytelling becomes a sacred ritual, allowing the mother to confront her grief and find a measure of peace. The chorus, acting as both narrator and commentator, guides the audience through the emotional landscape of the play.
“Curlew River” similarly uses ritual to explore themes of redemption and spiritual awakening. The Madwoman’s journey becomes a pilgrimage of sorts, leading her to a place of acceptance and, ultimately, transcendence. The chorus, representing a community of believers, guides both the Madwoman and the audience towards a sense of spiritual understanding.
The Power of Silence:
Both “Sumidagawa” and “Curlew River” embrace silence as a powerful dramatic tool. The measured pacing, the moments of stillness between musical phrases, and the absence of extraneous musical gestures create a sense of space for contemplation and emotional resonance. In the silences, the unspoken emotions of the characters resonate with profound depth.
A Visually Striking Production:
Director Yoshi Oida’s minimalist yet evocative staging further enhances the emotional impact of the double bill. The simple set, consisting primarily of a wooden platform and a backdrop of flowing fabric, suggests both the riverbank settings and the timeless nature of the stories being told. The costumes, inspired by traditional Japanese and medieval European designs, add visual richness without distracting from the emotional core of the performances.
Timeless Themes, Contemporary Relevance:
While rooted in ancient traditions, “Sumidagawa” and “Curlew River” resonate with contemporary audiences grappling with themes of loss, grief, and the search for meaning in a chaotic world. The works offer a timeless meditation on the human condition, reminding us of the universality of these profound emotions.
The Aldeburgh Festival’s pairing of “Sumidagawa” and “Curlew River” was a triumph of cross-cultural collaboration, showcasing the power of music and theatre to transcend cultural boundaries and touch upon shared human experiences. The performance was a testament to the enduring legacy of both works, proving their ability to resonate with audiences across generations and cultures.
