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  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Ingela Brimberg, Thomas Blondelle

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Seth Carico, Andrew Harris

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Ronnita Miller, Katarina Bradic u. a.

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic, Elena Tsallagova et al.

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Ingela Brimberg, Elena Tsallagova, Ronnita Miller, Katarina Bradic

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic, Ingela Brimberg

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Elena Tsallagova et al.

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Ingela Brimberg, Katarina Bradic

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic, Andrew Harris

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic, Andrew Harris

  • The Rape of Lucretia © 2014, m

    Katarina Bradic, Andrew Harris

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Ronnita Miller, Katarina Bradic, Andrew Harris, Ingela Brimberg, Elena Tsallagova

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Thomas Blondelle

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic, Ingela Brimberg, Elena Tsallagova

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Thomas Blondelle, Ingela Brimberg

  • The Rape of Lucretia © 2014, Marcus Lieberenz

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Katarina Bradic

  • The Rape of Lucretia © 2014, Marcus Lieberenz

    Thomas Blondelle, Ingela Brimberg

/23

The Rape of Lucretia

Benjamin Britten (1913 – 1976) / Haus der Berliner Festspiele
Fri 14.11.2014 / 19:30 h / € 17,00 to 62,00 / Premiere

Haus der Berliner Festspiele

Opera in two acts
Libretto by Roland Duncan
Based on „Le viol de Lucrèce“ by André Obey
First performed on 12th July, 1946 in Mr. and Mrs John Christie's Opera House, Glyndebourne
Premiered at the Deutsche Oper Berlin on 14th November, 2014 at the Haus der Berliner Festspiele

In English language with German surtitels

approximately 2hrs / 1 interval

Pre-performance lecture (in German): 45 minutes prior to each performance

Cast

Conductor

Nicholas Carter

Stage Director

Fiona Shaw

Set Design

Michael Levine

Costume Design

Deborah Andrews

based on

Paul Anderson

Light Design

Simon Fraulo

Movement Director

James Rutherford

Dramaturgy

Angelika Maidowski

Male Chorus

Thomas Blondelle

Female Chorus

Ingela Brimberg

Collatinus

Andrew Harris

Junius

Seth Carico

Tarquinius

Duncan Rock

Lucretia

Katarina Bradic

The Concert Programme

When it came to composing his second opera, a year after the first-night success of his PETER GRIMES, Benjamin Britten opted for a radical change of “format”. Rejecting the cumbersome route involving chorus, full orchestra and multiple soloists – for which, in the immediate post-war years, the funding and audiences were lacking -, he launched into the composition of a chamber opera. Costs were to be kept to a minimum and the work was to be so flexible in its logistics that it could be performed on small stages and toured to the provinces. With his colleagues from the PETER GRIMES period, Eric Crozier, singer and theatre manager Joan Cross (his first Ellen Orford) and his partner, the tenor Peter Pears, Britten founded the Glyndebourne English Opera Group, which was later to spawn the English Opera Group and the Aldeburgh Festival. The first project of this new creative troupe was THE RAPE OF LUCRETIA.

Britten considered the ancient tale of the Roman Lucretia, a faithful and loving wife who is raped by the unscrupulous Tarquinius and commits suicide as a result, to be an apt subject for traumatised post-war audiences. Using an orchestra of only 13 musicians and eight soloists, he came up with a work of thrilling intensity that is also one of his most lyrically beautiful pieces. Informed by the traditions of baroque opera, with its clear demarcation of arioso and recitativo sections, the work is overtly and deliberately reminiscent of Purcell, the most important English writer of operas before Britten. The chorus, accompanying and commenting on the action, is a reference to an ancient format, albeit here only in the form of one man [“Male Chorus”] and one woman [“Female Chorus”]. Britten created the title role for the celebrated alto Kathleen Ferrier, with Peter Pears taking the part of the “Male Chorus” and Joan Cross singing the “Female Chorus”.

A production of the Glyndebourne Festival OperaPremiered on 19th October, 2013 in Glyndebourne