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	,  - Benjamin Britten "The Rape of Lucretia" (Opera in two acts) - uVisitRussia
	
						

				
				
				


				
				



				
				
				
				
			
			
		
				
			

Home Theaters Moscow Moscow theatre "New Opera" , - Benjamin Britten "The Rape of Lucretia" (Opera in two acts)
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Opera
Moscow theatre "New Opera", Moscow
Duration: 1 hour 50 minutes
World premiere: Glyndebourne Festival Opera, 12 July 1946

Unflinching and haunting, The Rape of Lucretia explores the devastating impact of a single act of violence—forever altering an individual, a family, a community, and a society. Britten’s heartbreaking and lyrical 20th Century chamber opera resonates as an ancient yet relevant story, illuminating compelling and complex emotions today.Recommended for 18+

Benjamin Britten's opera The Rape of Lucretia was first performed at Glyndebourne in July 1946, just 13 months after the triumphant premiere of his Peter Grimes, which had been hailed as signalling a renaissance in English opera.

Yet the two works could hardly be more different. Where Grimes was a grand opera, with chorus and full orchestra, firmly rooted in the 19th-century tradition, its successor is at the other end of the scale, requiring just eight singers and 13 musicians, and part of what can be now be seen as an essentially 20th-century fascination with the economy and directness of stripped-down music theatre.

The premiere was given by the newly formed Glyndebourne English Opera Company - with Kathleen Ferrier as Lucretia, and Peter Pears and Joan Cross as the Male and Female Choruses. It was the director and writer Eric Crozier who suggested that André Obey's play Le Viol de Lucrèce could be the basis of an opera, and the composer asked his friend Ronald Duncan to provide the libretto. What Duncan came up with has been the source of debate ever since; its high-flown imagery and explicit Christian message have repelled some, as much as they have been approved by others.

In the story of the faithful and virtuous Lucretia's rape by the politically ambitious Etruscan Tarquinius, Britten had identified his persistent themes - the corruption of innocence, and the outsider in society, so dominant in Peter Grimes. The faithfulness of Lucretia to her husband Collatinus is very much the exception rather than the rule in the libidinous Rome of the opera. In Britten's dramatic scheme the Male and Female Choruses are more than just story-tellers. They describe and comment on the action, but gradually find their detachment subverted by the horror of what is happening, and provide the bridge between these events, which take place in classical, pre-Christian times, and the present- day audience, as both conscience and commentators.

The score is a model of the economy, creating a sound world of vivid evocation, while the interweaving of self-contained numbers with music that is more freely organised, shows how Britten had rethought his approach to opera and to the operatic tradition after Grimes.

Casts & Credits

Costume Designer: Etel Ioshpa
Stage Director: Ekaterina Odegova
Costume Designer: Etel Ioshpa
Stage Director: Ekaterina Odegova