{"id":19043,"date":"2021-05-19T10:38:28","date_gmt":"2021-05-19T08:38:28","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=19043"},"modified":"2021-06-25T13:02:50","modified_gmt":"2021-06-25T11:02:50","slug":"the-rape-of-lucretia-benjamin-britten","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/the-rape-of-lucretia-benjamin-britten\/","title":{"rendered":"THE RAPE OF LUCRETIA \/ BENJAMIN BRITTEN"},"content":{"rendered":"

The 1946 opera The Rape of Lucretia<\/em> marks a turn in Benjamin Britten’s (1913-1976) body of work towards more chamber-like and intimate musical forms. A small cast – both vocal and instrumental – demonstrates the artist’s genius in shaping the sound of the ensemble. The individual arias are not only highly suggestive but also varied – the moving delicacy of the chords in the night scenes is contrasted with the expressive power of the more emotionally marked fragments.<\/p>\n

The theme of the opera is the semi-legendary story of Lucretia, whose beauty and fidelity were tainted by the despicable act committed by Sextus of the Etruscan family of Tarquini. The ancient story of love, honour and betrayal prompts a psychological approach to the act of violence and the fate of the victim, the inequality in relationships between men and women and their different outlook on the world. The tragedy of Lucretia also symbolically reflects the situation of Rome, decaying under the Etruscan dynasty. What is more, Britten’s work is also an attempt to place this story in a Christian context. The multidimensionality of the work gives plenty of room for interpretation – both to directors and performers, among whom not only every singer but also every instrumentalist is a soloist.<\/p>\n

The task of directing the staging of the work at the Polish Royal Opera was undertaken by Kamila Siwi\u0144ska – an artist who has repeatedly touched upon topics related to the role of women in culture in her performances. We cordially invite you to experience her interpretation of the ancient story framed by the music of one of the most important British composers of the 20th<\/sup> century.<\/p>\n

 <\/p>\n

MUSIC DIRECTOR LILIANNA KRYCH<\/strong><\/a><\/p>\n

DIRECTOR, SET DESIGNER, VISUALIZATIONS KAMILA SIWI\u0143SKA
\n<\/strong>CHOREOGRAPHY TOBIASZ BERG
\n<\/strong>LIGHTING DESIGN PAULINA G\u00d3RAL
\n<\/strong>STAGE COSTUMES TOMASZ ARMADA<\/strong>
\nFILM COSTUMES MARLENA SKONECZKO<\/strong><\/a>
\nASSISTANT CONDUCTOR KAROL SZWECH<\/strong><\/a>
\nASSISTANT DIRECTOR AGNIESZKA KOZ\u0141OWSKA<\/strong><\/a>
\nSTAGE MANAGERS TATIANA HEMPEL\u2013GIERLACH<\/strong>, DOROTA LACHOWICZ<\/strong>
\nLANGUAGE CONSULTANT SEAN PALMER<\/strong><\/p>\n

<\/h4>\n

CAST<\/strong><\/h4>\n

MALE CHORUS SYLWESTER SMULCZY\u0143SKI<\/a><\/strong>
\nFEMALE CHORUS ALEKSANDRA KLIMCZAK<\/strong>
\nCOLLATINUS REMIGIUSZ \u0141UKOMSKI<\/strong>
\nJUNIUS PAWE\u0141 MICHALCZUK<\/a><\/strong>
\nTARQUINIUS SZYMON MECHLI\u0143SKI<\/strong>
\nLUCRETIA\u00a0ANNA RADZIEJEWSKA<\/a><\/strong>
\nBIANCA MA\u0141GORZATA BARTKOWSKA<\/strong>
\nLUCIA MARIA Z\u0141OTEK<\/strong><\/p>\n

THE CHORUS OF THE POLISH ROYAL OPERA<\/b><\/a><\/p>\n

THE ORCHESTRA OF THE POLISH ROYAL OPERA<\/b><\/a><\/p>\n

CONDUCTOR LILIANNA KRYCH<\/strong><\/a><\/p>\n

 <\/p>\n

 <\/p>\n

\n
The seats in the auditorium are not numbered.<\/h5>\n
PLEASE NOTE: the entrance to the Royal Theatre in \u0141azienki Park is located in Agrykola street.<\/strong><\/h5>\n
\n

We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n