The rape of Lucretia
Benjamin Britten
Keywords
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Reviews (6)
Presto classical
d. 28. Dec. 2018
By
By
Katherine Cooper
d. 28. Dec. 2018
"Recording of the week: As in Written On Skin, much of the work's disturbing beauty lies in Benjamin's ability to switch from sensuality to brutality in a heart-beat, and the contrast between Crimp's economical language and Benjamin's rich, endlessly imaginative orchestration is also common to both works ... The cast embrace their dramatically and musically challenging assignments with blazing commitment, sensitively directed by Katie Mitchell in a production which works every bit as well on screen as it did on stage".
MusicWeb international
2019 April
By
By
Dave Billinge
2019 April
"Recommended: Benjamin and Crimp ... have given us a gripping sung drama which must surely place them in the vanguard - though I think, after Written on Skin, they are already there ... The dramatic impact is enhanced by the regular use of shots from a camera vertically over the stage ... Even without the aerial shots the staging is never dull ... None of this would matter much if Benjamin's music were not so good ... It manages to entice one into the story with intriguing sounds and a lot of musical eventfulness to keep one listening ... The cast is absolutely superb. Barbara Hannigan floats many high passages with her usual, but nonetheless remarkable, skill ... The orchestra, conducted by the composer, are marvellous ... A triumph for the Royal Opera House, Covent Garden".
BBC music magazine
2019 April
By
By
John Allison (f. 1965)
2019 April
"His orchestral imagination is prodigious, and both as a composer and conductor he conjures up memorable soundscapes full of jittery tension ... The entire cast seems convinced it is creating something deeply meaningful ... Peter Hoare's scheming Mortimer is the most compelling of all ... But the work really needs to be set free from its creators".
Fono Forum
2019 September
By
By
Bernd Feuchtner
2019 September
"Der Komponist stiftet das Nederlands Radio Filhamonisch Orkest zu allerlei Untaten an. Als tödliches Rasiermesser charakterisiert Gaveston sich selbst ordinär mit der Stimme des Baritons Gyula Orendt im morbidesten Liebesduett der Opern-geschichte".
The gramophone
2019 March
By
By
Richard Fairman
2019 March
"At just 90 minutes, this is an opera of impressive concentration with not a word or note wasted ... In the telling of this oppressive story Benjamin and Crimp are as one. Like Crimp's text, the music is a model of clarity on the surface, while suggesting an undercurrent of evil ... Everyone in the cast fits perfectly ... Hannigan is outstanding as the Queen".
Diapason
2019 mai
By
By
Benoît Fauchet
2019 mai
"Vurdering: Diapason d'or".