From April 20-22, the George Mason University School of Music and Mason Opera will present the comic opera Albert Herring, set in the imaginary East Suffolk town of Loxford at the turn of the 20th century. To gain more insight on this opera and its composer, Benjamin Britten, we interviewed John Aler, Associate Professor of Music (Voice) at Mason. Aler is a highly-acclaimed international performer with an extensive background in opera, and serves as the Artistic Advisor for this production. Not only has he previously performed in Albert Herring, but he also has performed other works by Britten. Aler’s thoughts provide an additional intriguing layer to this production.
How does your role as Artistic Advisor affect the performance of Albert Herring?
John Aler: My role as Artistic Advisor profoundly affects the production of this opera. Since it is an opera that I performed in college and was a fantastic “watershed” experience for me, I have many directional ideas. This opera is a great opportunity for all of our students to make them grow and appreciate this marvelous piece—it is musically difficult but also extremely satisfying.
When this opera was premiered, some said it was a satire of Britten’s personal life. Do you believe this observation holds any merit?
J.A.: I personally don’t feel like Albert Herring is so much a satire as it is an appreciation. Britten actually grew up in the English neighborhood where the opera is set, and he lived there all his life. The opera’s plot is originally based on a French story, and it is an appreciation of quirky characters and the small-town situations Britten experienced throughout his life.
You’ve performed various works by Britten in the past. Are there any aspects of his compositional style that you appreciate more than other composers?
J.A.: One of the things I love about Britten is his incredible attention to words and understanding of different voicing. In writing English opera, he was one of the most successful 20th century composers since Henry Purcell. Also, Britten’s compositional discipline is unmatched—he was an extremely disciplined composer who composed every day. All he had to do was think about it for several months and then write it down. He was an inspiration.
In your opinion, how does the humor of Albert Herring compare to other comic operas?
J.A.: I think it compares very well since it’s full of quirky characters and almost caricatures. Since the characters work in small-town situations, it gives the opportunity for people to be a little bit silly and crazy. There are lots of jokes in the piece, but it is a real story and situation that’s relatively serious and populated by real characters. There’s good opportunity for comedy.
Which musical excerpt stands out most to you and why?
J.A.: The greatest excerpt is in Act III: Threnody, where it is an amazing ensemble that is beautifully composed. It was originally made to be ironic, but it is compositionally brilliant.
Any other thoughts you would like to share with us?
J.A.: I would like everyone to remember to have a good time during the performance! Albert Herring is a very funny piece but it is also serious, so it is a great balance. The ensemble aspect is fascinating—it has 13 members and is a great opportunity for students and performers to work together and interact with one another. I hope everyone will be open to this new experience.
Albert Herring
Presented by George Mason University School of Music
Harris Theatre
Friday, April 20–Saturday, April 21 at 8 p.m.
Sunday, April 22 at 2 p.m.