The Collins Guide To Opera And Operetta - Michael White

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Collatinus’ wife
Mezzo-soprano

      Collatinus

Bass

      Tarquinius, ruler of Rome

Baritone

      Junius

Baritone

      Male Chorus

Tenor

      Female Chorus

Mezzo-soprano

       Synopsis of the Plot

      Setting: Rome; 510 BC

      ACT I In the army camp Tarquinius, Collatinus and Junius are drinking steadily and complaining about the general untrustworthiness of women, with the exception of Collatinus’ wife, Lucretia, who is known to be absolutely and unshakeably faithful. This assertion provokes Tarquinius, who rides furiously to Rome with the sole intention of destroying Lucretia’s reputation. When Tarquinius arrives at her home, Lucretia welcomes him, rather uneasily, and offers him hospitality.

      ACT II Tarquinius creeps into Lucretia’s room and she, sleepily imagining it to be her husband, responds to him before realising the truth and struggling, in vain, to prevent him from raping her. The next day Lucretia sends for Collatinus, who quickly learns the truth from her attendants. Collatinus reassures his wife of his love for her but Lucretia’s shame is too great for her to bear and she stabs herself to death.

       Music and Background

      The Rape of Lucretia followed Peter Grimes in Britten’s output but was written for far more modest resources – eight voices and a chamber ensemble of thirteen instruments – which reflect a concern for the practical problems of getting opera onto the stage in the years of austerity immediately after the Second World War. The tone of the writing is itself austere, stiff with an emotional restraint that limits the opera’s popularity. But the brilliance with which Britten draws from these small resources ingenious effects like the opening evocation of a sultry Italian night – complete with bullfrogs and cicadas – is undeniable, and the vividness of this sound-painting more than compensates for moments of monochrome dryness elsewhere.

       Highlights

      The Male Chorus account of Tarquinius’ night-ride in Act I is tense with excitement. In Act II the most purely beautiful music comes, oddly perhaps, as Tarquinius steals upon the sleeping Lucretia, singing ‘Within this frail crucible of light’.

      Did You Know?

      

The lingering logistical problem with The Rape of Lucretia is why a devoted wife who has been violated against her will should feel any guilt. Stage directors tend to address the issue by implying that she harbours hitherto unrealised desires for Tarquinius – although this doesn’t endear their productions to feminist commentators.

      Recommended Recording

      Janet Baker, Peter Pears, Heather Harper, English Chamber Orchestra/Benjamin Britten. Decca 425 666-2. Discs that captured Janet Baker on peak form in 1970, with singing of depth and dignity.

       FORM: Opera in a Prologue and two acts; in English

       COMPOSER: Benjamin Britten (1913–76)

       LIBRETTO: Myfanwy Piper; after the story by Henry James

       FIRST PERFORMANCE: Venice, 14 September 1954

       Principal Characters

      The Prologue

Tenor

      The Governess

Soprano

      Miles

Boy Treble

      Flora

Soprano

      Mrs Grose, the housekeeper

Soprano

      Miss Jessel, the former governess

Soprano

      Peter Quint, the former servant

Tenor

       Synopsis of the Plot

      Setting: Bly, an English country house; mid-19th century

      PROLOGUE A narrator introduces the story, telling us of how the young Governess has been engaged by the guardian of the two children, Miles and Flora. There is only one condition attached to the post: she must not trouble him.

      ACT I The Governess is warmly welcomed at Bly and soon settles in. Slowly, however, she becomes aware of the increasing strangeness of the children’s behaviour and of a sinister atmosphere in the house, culminating in the momentary sighting of an unknown man at a window. On consulting the housekeeper, the Governess learns that this is Quint, the former manservant, now dead. Quint, she is told, was very close to Miles and had a relationship with Miss Jessel, the previous governess, who is also now dead. When the Governess finds both Flora and Miles communicating with these ghostly manifestations, she becomes seriously worried.

      ACT II The Governess’ apprehensions reach a climax when she is confronted herself by Miss Jessel’s ghost and, despite Mrs Grose’s assurances that the children are in no danger, she determines to break the one condition of her employment and write to their guardian. Miles is deeply disturbed by this and, encouraged by Quint, he steals the letter before it can be sent. Flora disappears and is found by Mrs Grose and the Governess by the lake, communicating with Miss Jessel, whom Mrs Grose cannot see. Flora denies Miss Jesseľs presence and turns bitterly on the Governess before Mrs Grose takes the girl back to the house. That night Mrs Grose stays with Flora and is horrified by the child’s dreams; she decides to take her right away. Left alone with Miles, the Governess urges him to tell her what is in his mind but Quint appears, uttering warnings, and the boy is torn between the two of them. The conflict is too great and he collapses and dies in the Governess’ arms.

       Music and Background

      The most elegantly organised of all Britten’s operas, The Turn of the Screw is a small-scale chamber piece with thirteen instruments in the orchestra and a chilling intensity that delivers powerful emotions in a controlled way. The story is organised into short scenes linked by instrumental

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