SEEN AND HEARD INTERNATIONAL

Britten,  The Rape of Lucretia: Soloists, Orquesta Sinfónica de Madrid. Conductor,  Paul Goodwin.Teatro Real de Madrid. 13.11.2007 (JMI)

Production from Teatro Valli Reggio Emilia.

Director: Daniele Abbado.
Sets, Costumes and Lighting: Gianni Carluccio.
Video Director: Luca Scarzella.

Cast:

Lucretia: Monica Groop.

Tarquinius: Andrew Schroeder.
Male Chorus: Toby Spence.
Female Corus: Violet Noorduyn.
Collatinus: Matthew Rose.
Lucia: Ruth Rosique.
Bianca: Gabriella Sborgi.
Junius: David Rubiera.

Looking at the programs of Spanish opera theaters during the last 5 to 7 years, one realizes that productions of works by Benjamin Britten  are  becoming more and more frequent. I can remember Peter Grimes in Barcelona, Madrid and Bilbao, Midsummer Night’s Dream in Madrid and Barcelona, The Little Sweep for children almost all over Spain, Gloriana in Barcelona and The Turn of Screw in Oviedo and Madrid. On top of all this, this season we have  Death in Venice at the Liceu and now this The Rape of Lucretia at Madrid Teatro Real. A few more steps in the form of Albert Herring, Owen Wingrave and Billy Budd and in record time we will have had the opportunity to see the whole of Britten's operatic output.

This performance of The Rape of Lucretia was unforgettable because of  three great 'winners ' who contributed to it. First of all, there was Britten himself , whose music was played so well that it had the rare privilege of moving the audience :  those Britten operas that can be considered as chamber pieces are an authentic delight. Secondly, English conductor Paul Goodwin  was the musical director for an exciting and absolutely convincing interpretation and  finally there was  Daniele Abbado, who offered a simple,  elegant stage and exquisitely tasteful setting  tailored beautifully to the service of music and text. This could be a lesson for some famous modern directors who seem always to be  looking for personal prominence based on 'modern' – or shocking- productions.

Daniele Abbado’s production comes from Reggio Emilia, where he is Director of the Teatro Valli. It offers a simple staging  on  two levels: on the upper level the narrators or Male and Female Chorus appear and on the level below the opera's action takes place. The costumes were all designed as if from ancient Roman times, with the exception of both choruses  who were  dressed in  long blue coats. There were also frequent video projections, some of great beauty, sometimes also  related to ancient times but with many referring to World War II -  which seems very suitable, because we should not  forget that both music and text of this beautiful opera had   their roots in this sad and bloody conflict. The direction of the action was also splendid, with a wonderful definition for each character. This really was an authentic lesson in theater from Daniele Abbado who clearly loves and respects the musical works that puts on stage.

Paul Goodwin's sympathy with Britten would be difficult to exceed. When a conductor believes in the greatness of what he has in his hands and transmits it lovingly, he can obtain spectacular results, both from the audience and his musicians. The Orchestra Sinfónica de Madrid is not used to this music and we should realize more often just how much the orchestra's quality improves when they have a great conductor in charge.  I think it completely appropriate to thank Mr. Goodwin for this exceptional and exciting performance.

I have often written that opera lovers are looking for just three things: voices, voices and voices. This is largely true, but there are some exceptions to this assertion. One this occasion there were no truly great voices - and perhaps they aren't really needed in this opera -  but what we had instead was a group of  very good singers, all totally convincing in their roles.

Finnish mezzo-soprano Monica Groop was a very intense and totally  convincing Lucretia. The part was written for Kathleen Ferrier, more a contralto than Ms Groop. But if a singer is able to move the audience as Ms Groop can, it  doesn't matter  if her low register is not quite strong enough. Matthew Rose was a noble and convincing Collatinus and  both Violet Noorduyun and Toby Spence were wonderful narrators. Someone asked me if I felt that  Mr. Spence’s voice was  amplified but if it was I certainly didn't  notice it Ruth Rosique sang Lucia, a part that  fits her like a glove and I have never seem a more convincing performance than this. Convincing too was Gabriella Sborgi's Bianca, Lucretia’s servant. Andrew Schroeder (Tarquinius) and David Rubiera (Junius) didn’t shine quite so brightly  much but had few real faults either.

Despite the fact that there were  some empty seats, this was a much needed success for Teatro Real after a rather disappointing start of the season.  The audience clearly enjoyed it and cheered all the artists, particularly Paul Goodwin and Daniele Abbado.

José M.Irurzun

Pictures © Javier del Real