And Caliban’s “isle is full of noises” aria (particularly well sung at this performance by Christopher Lemmings, replacing an indisposed Ian Bostridge) was a highlight

(Ian Bostridge) was replaced by the fresh-voiced lyric tenor Christopher Lemmings

Le récit de Caliban, superbement interprété par le tenor Christopher Lemmings, est soustenu par un tapis de cordes, ponctué de longs accords qui permet à la voix de donner toute son expressivité.

Caliban est campé avec une efficacité discrète par Christopher Lemmings

Christopher Lemmings, qui avait dejà remplacé Ian Bostridge pour certaines soirées à Londres, connaît le potentiel de sympathie qu’il y a chez le monstre Caliban.

Le tenor Christopher Lemmings est un Caliban extrordinaire, prenant son envol dans la seconde scène de l’Acte II. La voix, utilisée avec art, déploie une expressivité notable.

De même ce sont les airs de Caliban, role écrit sur mesure pour Ian Bostridge et fort bien repris ici par Christopher Lemmings, qui s’avèrent les plus émouvants de l’opera, peut-être parce qu’ils sont magnifies par la qualité d’un soutien orchestral d’une beauté devenant subitement enivrante. Parcours inégal donc, mais investi de bout en bout, et qui remet beaucoup de prétentions à leur place, à défaut du chef d’oeuvre inattaquable attendu

Le solide Caliban de Christopher Lemmings.

Chez les interprètes, de vrais tempéraments emergent, comme Toby Spence, Christopher Lemmings ou l’incroyable Cyndia Sieden

"Tenor Christopher Lemmings’ enunciated performance as the stroppy prince was fabulous".

The lyric tenor, Christoper Lemmings has perhaps more of a pedigree in that he appeared in both Adès The Tempest and Maw Sophie’s Choice, both on the main stage of the Royal Opera House. His diction was superb and he imbued the character of the Prince with amazing dynamism and something of the character of a Shakespearian mechanical. It was when he was singing that I discerned a link between Bedford’s writing and that of his distinguished predecessor, Sir Harrison Birtwistle in Punch and Judy or Down by the Greenwood Side.

As the Prince, Christopher Lemmings showed what an excellent character actor he was, the tantrum levels of this spoiled brat were just about right, highly agitated without being over the top – and a touch of the Victor Meldrew (see photo). He displayed little pleasure during ingestion, as if afflicted with a twentieth century complaint, compulsive food disorder. Becoming aware of his situation there was pathos too as the ‘supermarket’ ran dry. Inevitably the waitress broke down in tears. With his plate empty, the prince sees his own reflection in his silver platter. It was not a pleasant sight.

Highlights of the night included a stunning performance from soprano Rhona Mckail (1st Angel/waitress), accompanied by superb acting from Christopher Lemmings (above) as the gluttonous, difficult and demanding prince.

The singers — Stephen Wallace (Pleasure), William Purefoy (Truth), Christopher Lemmings (Beauty), Roderick Williams (Deceit) and Stephen Richardson (Time) — all showed a remarkable ability to project themselves as dramatic agents amid the musical rowdiness, and they were all rock-solid musically, a tremendous accomplishment on its own.

Virtuose, équilibré, le quintette approche la Perfection: Christopher Lemmings (Beauty) est un ténor nuancé

Christopher Lemmings made solid work of Beauty, bringing a lyrical touch to the busy vocal line

Christopher Lemmings as Barry's Beauty sings to match (his) title

The performance from Christopher Lemmings, widely admired in so many modern operas, has total authority and conviction.

It is the later set of seven Auden Songs, finished in 1989, that seems the more coherent achievement here, containing a couple of settings of deep, searching intensity; to which tenor Christopher lemmings gives full weight.

(The cycle) for solo voice and piano trio, by composer Ned Rorem display a sensitive response to words and thrilling vocal lines which mesh perfectly with the inner meaning of the poetry. The seven songs are given impassioned treatment by tenor Christopher Lemmings.

Christopher Lemmings' voice is light and clear, with superb diction

These are extremely fine performances of genuine commitment and respect: Rorem could hardly have cause for complaint. Christopher Lemmings in particular has plenty of chances to soar in the testing Auden songs - all the way to a top C in 'Yes we are going to suffer. ...this is music or genuine interest and considerable potential appeal in performances which are unlikely to be bettered on record for some time.'

My ideal Gerontius needs a full, rich tone but above all the intelligence to respond minutely to the text. In this performance I found him. Christopher Lemmings has beauty of tone, power and the theatrical response needed for the text.

Tenor Christopher Lemmings created a convincing character, growing broader in expression and negotiating some perilously high passages with admirable stamina.

Christopher lemmings was also suffering from a bug, but nonetheless he displayed a masterly technique as he phrased and delivered the verse. Sometimes he was truly chilling too: in "I go before my Judge..." for instance.

Christopher Lemmings sang the poetic texts with a voice both tender and bitter that really touched the heart

Against the big set pieces, Owen's words project their painful home truths on an intimate, person to person basis. Soloists Christopher Lemmings and Erik Sohn understood this exactly, and the fact that one is British, the other German, gave added depth to lines like: "I am the enemy you killed, my friend"

Einen ausgezeichneten Eindruck hinterließen die Solisten. Erik Sohns geschmeidiger Bariton und der leicht anspringende Tenor seines Partners Christopher Lemmings ergänzten sich ganz wunderbar. Beiden gelangen hingebungsvolle Ausdeutungen der Dichtungen von Wilfred Owen, die Britten mit dem Text der lateinischen Totenmesse kombiniert hat.