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According to Tarquinius women are the only end in life for him and for both Junius and Tarquinius all women are by nature unchaste. Two generals, Junius and Collatinus, and one Prince, Tarquinius, are at war against the Greeks somewhere and they boast, some evening in camp when drinking and waiting for a battle to come some day, about women and how the wives of many generals were found unfaithful when checked upon, except Lucretia, Collatinus’ wife. This somber Christian parabolic lesson is present from beginning to end and animates the whole tale. It is salvation that has to be brought back over and over again since man will always commit sins, a redemption that can only come after the crime. Jesus is compensation and not possible change. We must keep in mind we are just after the Second World War, just out of it, and the steady reference to Jesus Christ, to the Cross, to his death to save us makes the story of Lucretia a real annunciation that man’s curse cannot be redeemed. This somber C This is a war story that defies and defiles love. The use of solo piano in some of Lucretia’s scenes adds an element of clarity and wholeness to her character, and the glissando on double bass adds extra gloom to many scenes.This is a war story that defies and defiles love. From the very first jarring chords onwards, the music was a true reflection of the story and characters, in particular when the male chorus tells us that Tarquinius is riding to Rome, the galloping rhythm of the ensemble and in particular the percussion very accurately illustrates not only the physical act of riding his horse to Rome, but also the unrest, determination in Tarquinius’s head as he rides to meet Lucretia. This is certainly not the case in this performance however, as The Rape of Lucretia is both musically and vocally challenging and engaging.
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One might think that when an opera is written for such a small ensemble that it can lose some of its power and impact.
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Both singers were incredible, Ian Bostridge especially articulated his part which such beauty, understanding and passion that he stole the show. Tonight sung by Ian Bostridge and Susan Gritton, they tell the audience most of the story, comment on it, and integrate all different parts of the story. The biggest roles in the opera are not, as you would expect, Lucretia or the other characters, but the male and female chorus. Collatinus tries to comfort Lucretia, but she feels irreparably violated and ashamed and stabs herself. The next day Lucretia tells her servants to send a messenger to her husband, but Collatinus and Junius appear before the messenger has reached them, Junius apparently feeling guilty for what he has partly caused. Tarquinius heads back to Rome, goes to Lucretia’s house and after being received courteously by her, he heads to her bedroom in the middle of the night and rapes her. Junius eggs Tarquinius on and dares him to seduce Lucretia. Lucretia’s husband the general Collatinus, general Junius and prince of Rome Tarquinius are at war, and in their camp discuss that supposedly all the women who were left behind have cheated on their husbands, apart from Lucretia. The Rape of Lucretia tells a story set in ancient Rome. Tonight’s performance with Oliver Knussen at the helm is another proud continuation of this tradition.
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Tonight’s chamber opera, The Rape of Lucretia was first performed at the festival in 1947 with Britten, Peter Pears and Kathleen Ferrier (for whom the opera was written) and the English Opera Group. The Holland Festival boasts quite an impressive relationship with Britten and his works.