Review
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Oxford Summer Opera Festival's production of The Rape of Lucretia is surprisingly approachable, despite its serious subject matter. This is due in part to Britten's light-filled score, with its suitably unsettling harmonies and moments of bittersweet clarity, and the balanced pace of Ronald Duncan's libretto. Of course, the talents of this young cast also play a part, and their interpretation has a sense of vitality and a deep understanding of both music and drama. The intimate setting of the Newman Room also helps to convey Britten's exquisite music. A high musical standard is set in the opening moments, as two stern Chorus figures (Simon Worrell and Rachael Russell) introduce us to ancient Rome, and, accompanied by pianist David Gostick and percussionist David Lewis, convey effectively the intensity and symbolism of the drama. The remainder of the cast is certainly able to meet this standard, transcending the limitations of a rather functional venue to present a consummate performance. Bass Edwin Hawkes stands out as a valiant Collatinus, Lucretia's adored husband, whose destiny becomes horribly clear when Tarquinius, the Prince of Rome himself, is lured into the machinations of the spurned husband Junius (Victor Clements). The singers' enunciation is clear enough to reveal all the treacherous details. Further tension is created as the inhabitants of Lucretia's carefree household are introduced. Far from the battlefield, Lucretia lives a blissful life marred only by the absence of her husband. Hannah Pedley as Lucretia dominates the drama. She evokes a convincing sense of restlessness via short arias, and her rich voice and stage presence create a real focus for the action. It's as well, then, she's well cared for by her servants, who inject some lightness into the proceedings. The female performers' voices combine in several ensemble numbers that are the real high point of the production in their capturing of Britten's subtle use of harmony, and the singers' sense of balance here is flawless. Jane Harrington's Lucia is a blithe character, and her contrastingly light soprano voice reflects the thought that has gone into the casting. This is a highly professional production, and a welcome change from the easy-listening music on offer in Oxford this summer. It's just one of the features of the festival, which also includes works by Handel, Purcell and Fauré, and those looking for a refreshing musical experience would be advised to sample and support the remaining events. Olivia Rowland |