Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Performances

18 Nov 2013

The Rape of Lucretia, Glyndebourne Touring Opera

‘If she is adulterous, why is she praised? If chaste, why was she put to death?’

The Rape of Lucretia, Glyndebourne Touring Opera

A review by Claire Seymour

Above: Scene from The Rape of Lucretia

Photos by Richard Hubert Smith courtesy of Glyndebourne Touring Opera

 

Fiona Shaw’s new production of Britten’s problematic second opera, The Rape of Lucretia, doesn’t quite succeed in answering St Augustine’s question, but it does powerfully communicate the work’s troubling dramatic power and relevance.

This Britten centenary year has brought forth a chest of treasures, familiar and rare. Amid the countless offerings, at home and abroad, of the operatic favourites - from Peter Grimes to Death in Venice - we have enjoyed several renditions of the Canticles and Church Parables, performances of Paul Bunyan and Owen Wingrave, and innumerable masterpieces of the chamber repertoire: ranging from the abstractions of Our Hunting Fathers to balletic presentations of Phaedra, with scarcely a song or chamber work neglected, including Britten’s juvenilia.

RapeofLucretia_2022.gif

But, Lucretia is a tricky one. Even the television opera, Owen Wingrave - which can sit uncomfortably in a theatrical context and presents characters with whom it is hard to empathise - communicates its ‘meaning’ more directly: whether we consider it a ghost story, anti-war manifesto or psycho-sexual drama, Wingrave is obviously ‘about’ something. But, Lucretia’s ‘message’ is equivocal and elusive; and, this is not wholly the fault of Ronald Duncan’s dreadfully verbose libretto - how, for example, is a composer supposed to respond to lines such as ‘and always he’d pay his way/ With the prodigious liberality/ Of self-coined obsequious flattery’?

Part of the problem lies in the tale itself. In the Roman account, there are no ambiguities: Lucretia kills herself for socio-political reasons - her husband’s power, social status and honour depend upon her virtue. In Shakespeare’s poetic narrative, Lucrece exhibits a guilt which is laden with Christian misogyny: she is beautiful, and her loveliness and purity has provoked Tarquin’s natural, masculine sexuality - so it’s her fault, like Eve, and the least she can do for the sake of everyone else is finish things off quickly.

Britten’s opera shifts between the two positions. We begin in a Roman military camp beside the Tiber, the formal device of the Male and Female chorus distancing us from the action in the manner of Greek tragedy. Indulging in crude banter, the boisterous soldiers praise Lucretia’s steadfastness and goodness, and the Male Chorus acknowledges, ‘Collatinus is politically astute to choose a virtuous wife./ Collatinus shines bright from Lucretia’s fame’.

However, contradicting this ‘historical’ focus, in their first lines the Choruses announce, ‘We’ll view these human passions and these years/ Through eyes which once have wept with Christ’s own tears’, establishing a specifically Christian perspective, one confirmed in Lucretia’s dying words, ‘See, how my wanton blood/ Washes my shame away!’ And, then there is the Christian epilogue which offers salvation to the participants’ despairing cry, ‘Is this all?’: ‘Jesus Christ. He is all! He is all!’ It’s all rather confusing.

Fiona Shaw and her design team (sets Michael Levine, lighting Paul Anderson, costume Nicky Gillibrand) opt for desolation with scarce hint of salvation. A bleak, raked stage, covered with earth overlain with a grubby black cloth, is dimly lit. Throughout the opera, the characters struggle to climb this incline, a physical manifestation of their worldly troubles and inner torments, and turn from us to peer into the delicate blue light which glows from afar - an elusive emblem of hope perhaps, but ever unattainable.

The cloth is raised with a single, central pole to form a dingy encampment. Drunken soldiers squat in the dark corners of the crowded tent, their fatigues reminding us that war, with its suffering and atrocities, is not merely an historical phenomenon. The Male and Female Choruses, dressed in dull 1940s clothing, are our conduit, via WWII, to this former era. In the libretto, the house curtain rises to show the Chorus ‘reading from books’; but Shaw literally digs her way back into antiquity, the Male Chorus scrabbling in a muddy pit from which Lucretia is later unearthed. Similarly, Collatinus’s house is an archaeological site, its perimeter marked by excavators’ tape, only a few foundation stones and rubble indicating its inner dimensions.

The gloom is ubiquitous, a cross-shaped standard lap providing weak illumination. Only at the start of Act 2, when Lucretia lies asleep, dreaming ‘the sunken treasures of heavy sleep’, does Anderson shine a gleaming white spotlight on her resting form, the sudden contrast powerfully evoking the purity of one who is ‘as light as a lily that floats upon a lake’. However, the glistening transparency proves poignantly fragile and defenceless against Tarquinius’ lust - ‘Loveliness like this is never chaste; If not enjoyed, it is just waste!’ Shaw shows us, explicitly and indisputably, how Tarquinius is driven to destroy the very beauty that he desires, Lucretia’s defilement taking place amid the earth and gravel of a dark, Hadean pit. At the end, it is from this pit that severed limbs and a head are unearthed; the Choruses’ closing religious consolations are bitterly unconvincing.

RapeofLucretia_2437.gif

On 15th November, the young cast were on fine form. Andrew Dickinson and Kate Valentine were outstanding as the Male and Female Chorus respectively, engaging our interest and our feelings as they related and participated in the unfolding tragedy. Dickinson articulated Duncan’s literary turgidities with clarity and fluency, his delivery natural and unmannered but the sentiments heartfelt. Valentine sang with generous tone and warmth, always relaxed, blending beautifully with Dickinson in the duet refrain which punctuates the opera. The lullaby which the Female Chorus sings over Lucretia’s sleeping form was elegant and touching, enhanced by some exquisite playing by alto flute, bass clarinet and horn.

Britten and Duncan originally conceived the Choruses as commentators, relating a tale from the annals of Roman history (as the curtain falls on Act 1, they ‘pick up their books and continue reading’). At times, Shaw’s Choruses adopted a similarly distanced viewpoint but elsewhere they travelled back through time, and engaged and interacted with the past. So, as Dickinson related the account of Tarquinius’s nocturnal journey to Rome, his precipitous flight was mimed in the background while the Female Chorus tried to intercept and deter the dissolute Roman ruler as he recklessly lamed his horse and plunged into the Tiber, propelled by jealousy and lust. Such interaction added immediacy and deepened our empathy. The occurrences of the distant past have been undergone by many since: during WWII and in the present day. Shaw shows us that the story the Choruses tell, is their tale too; but, it does seem a step too far to suggest an intimate sexual attraction between the two Choruses …

The role of Lucretia was originally written for Kathleen Ferrier; Claudia Huckle may not possess a voice of such ample fullness, but after a slightly hesitant start she produced an intense and affecting performance. She acted with intelligence and commitment. A voice that initially embodied lightness and composure, transmuted after her violation to darker tones conveying vulnerability and self-castigation. Her confession was rich, mobile and expressive, her exposure unveiling a troubling guilt as Tarquinius’s desire became her crime. Huckle’s Lucretia is no artificial idol; rather she is a real, flesh-and-blood woman, shocked and destroyed by her own unbidden passions.

Duncan’s libretto depicts the rigid divisions in Roman society between male and female groups. Here, the Etruscan soldiers were crude, misogynistic competitors, convincingly brazen and coarse. In contrast, Ellie Laugharne’s lively, bright Lucia and Catherine Wyn-Rogers pure-toned Bianca suggested honest, uncomplicated friendship and love within the female domain.

Oliver Dunn revealed an appealing baritone and sure dramatic instincts as Junius. David Soar presented a well-rounded Collatinus, his strident Act 1 soliloquy on ‘love’ giving way to tender and profound sincerity following Lucretia’s confession, supported by rising woodwind and harp accompaniment gently intimating hope; ironically his forgiveness merely exacerbated Lucretia’s remorse.

As Tarquinius, Duncan Rock was fittingly assertive and muscular, although his aggression and brashness was modulated by moments of lyricism. Enraged by taunts and boasts, stirred by Lucretia’s beauty and virtue, his passionate outburst before his assault was poetic and ecstatic.

After the rape, Rock sadly conveyed a sense of his own loss - ‘Though I have won/ I’m lost./ Give me my soul/ Again/ In your veins sleep/ My rest.’; his Tarquinius was to be both censured and pitied.

RapeofLucretia_2530.gif

Britten’s score is sparse, fitting for the post-war cultural climate when the work was composed, and ideal for our own ‘age of austerity’. In contrast to the drab bleakness on stage, the twelve instrumentalists conducted by Jack Ridley responded wonderfully to the transparent lucidities of Britten’s scoring. As Tarquinius crept through Lucretia’s house, the percussion’s nervous motifs skilfully depicted the explosive tension within the assailant. There was some enchantingly sensitive playing from harpist Sue Blair, and Alan Darbyshire’s silky cor anglais melody, above unsettling off-beat bass quavers, deepened the poignancy of Lucretia’s entrance preceding her confession.

In an article, ‘The Problems of a Librettist: Is Opera Emotionally Immature?’, Duncan suggested that the opera continued the dramatization of the conflict between the individual and society begun in Peter Grimes: ‘the individual is personified by Lucretia whose virtuous personality is persecuted, raped, by Tarquinius, who symbolises Society’. A more abstract reading might propose that the opera explores relationships between desire and violence, love and sin: after Lucretia’s death, the whole cast cry: ‘How is it possible that she/ Being so pure should die!’

But, for all the digging and delving, Fiona Shaw doesn’t find historical or philosophical ‘truth’: Lucretia’s suicide is presented more as a personal purgation than a social sacrifice, but the intimations of her guilt are neither confirmed nor eradicated. The Christian epilogue does not provide a redemptive framework: we do not equate Lucretia’s suffering with Christ’s crucifixion. But, this doesn’t matter. Shaw offers an intensely moving spectacle. As Lucretia herself says: ‘What I have spoken never can be forgotten.’

Claire Seymour

Glyndebourne Touring Opera will perform in Milton Keynes 19-23 November, Plymouth 24-30 November and Stoke-on-Trent 11/14 December.

Listen to the Rape of Lucretia podcast


Cast and production information:

Male Chorus, Andrew Dickinson; Female Chorus, Kate Valentine; Collatinus, David Soar; Junius, Oliver Dunn; Tarquinius, Duncan Rock; Lucretia, Claudia Huckle; Bianca, Catherine Wyn-Rogers; Lucia Ellie Laugharne; Director, Fiona Shaw; Conductor, Jack Ridley; Set Designer, Michael Levine; Lighting Designer, Paul Anderson; Costume Designer, Nicky Gillibrand; The Glyndebourne Tour Orchestra. Glyndebourne Touring Opera. The Marlowe Theatre, Canterbury, Friday 15th November, 2013.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):