![]() Photo by Geoff Sheil.īritten masterfully wove a commentary on gender roles into his opera, combining contemplative libretto with sensitive instrumentation. Tshegofatso Moeng was sensitive, and his resonant voice seemed almost effortless. Her voice was refreshingly rich and full, but she could afford to engage more with her fellow actors and audience.ĭaren Jackson’s bass voice was deep and rich, and he commanded the audience’s attention with his powerful voice. Mark Wanich was appropriately unnerving as Tarquinius and had some beautiful falsetto notes in “Within this frail crucible of light.” Jenny Anne Flory had some great moments as Lucretia. While the production was simple, the actors’ performances carried the story. Alexis Aimé, as the Female Chorus, was the audience’s moral compass though removed from the story, her compassion and concern for Lucretia was palpable, especially in “She sleeps as a rose.” Aimé, a soprano, has an impressive range she shone in her strong lower register as well as her upper one. The Rape of Lucretia is the Maryland Opera Studio’s annual “white opera,” performed with minimal scenery and props and basic costumes by Sue Chiang. Tarquinius refuses to believe this, declaring, “I’ll prove Lucretia chaste.” The prince acts on his desires, and the Male and Female Chorus struggle to make sense of the myth’s tragic conclusion. Tarquinius, an Etruscan prince (Mark Wanich), and generals Collatinus (Daren Jackson) and Junius (Tshegofatso Moeng) discuss how many husbands returned to Rome the previous night to find their wives had been unfaithful – all except for Collatinus’ wife Lucretia (played at this performance by Jenny Anne Flory). Based on the myth popularized by Roman historian Livy, among others, this 1946 chamber opera is challenging to watch. The Maryland Opera Studio, under the direction of Amanda Consol, gave a compelling, stark performance of this unsettling tale.Ī Male Chorus and Female Chorus (played by James Smidt and Alexis Aimé at this performance) introduce the audience to a Rome that has been taken over by Etruscans. There’s a saying that says, “Art should comfort the disturbed and disturb the comfortable.” Benjamin Britten’s The Rape of Lucretia most definitely fulfills that second requirement. ![]()
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