There are those who say that Britten's The Turn of the Screw is his finest opera after Peter Grimes, those who say that it's his best opera period and those who say baloney to both opinions. What about Billy Budd, the want to know or, perhaps, A Midsummer Night's Dream?

Then there are those who maintain that Britten's intention in writing the opera was merely to give its audiences an enjoyable scare. According to this line of thinking, Henry James, the author of the ghost story on which the opera is based, was similarly modest in his aims. Inevitably, other people insist that the novel and the opera are profound Freudian studies of good and evil.

Who's right? Who's wrong? -- Who knows?

The Turn of the Screw is certainly Britten's most economical and flawless operatic achievement. It is a mere 108 minutes long and consists of a prologue and sixteen scenes, separated by as many interludes. The latter are quite out of the ordinary. The first is a statement and elaboration of the opera's principal theme, and the remaining fifteen are variations on the theme. Their structure contributes mightily to the unity and eerie power of the work.

This video recording of the opera was made in connection with the 1990 Schetzingen Festival. It was a co-production of the Royal Opera Covent Garden and Cologne Opera. Not surprsingly, it gives a strong account of the work. The singing is excellent, the acting is convincing and conductor Bedford leads the instrumental ensemble that Britten prescribed in playing that is expert and expressive.

Helen Field sings the Governess beautifully and is entirely convincing in her initial naivety and the hint of hubris that underlies most of her actions. The housekeeper, Mrs. Grose, comes across as a good-hearted lady of little education but much common sense.

The ghosts, if that's what they are, are excellent. Richard Greager succeeds wonderully with the contrasting roles of the Prologue and Peter Quint. His Quint is especially good at getting under your skin, not to mention the skins of the other characters. Phyllis Cannan is a little more stereotyped but she is certainly thhe kind of governess that neither you nor I would want for our children.

Ah yes, the children. Machiko Obata does well as Flora, considering that she's far too old for the role. She sings it well, but neither her face nor her manner can bear the close scrutiny of the camera. On the other hand, Flora's brother Miles is wonderfully portrayed by the remarkable boy soprano Samuel Linay. We hardly ever encounter a boy in opera with his vocal flexibility and assurance, and he acts the role to perfection.

Michael Hampe's stage direction is simple but effective. The same qualities apply to the sets and costumes. The production design is stylized but not abstract.

The stereo sound recording is good and, because of their excellent diction, the singers are not hard to understand. However, I enjoyed the opera more when I watched it a second time and turned the English subtitles on.

There are two "extras" on the DVD, an unecessary synopsis illustrated with stills and trailers for two other operas on the Arthaus label.