2 Benjamin Britten 1913-1976 THE RAPE OF LUCRETIA

Opera in Two Acts, 1946, revised 1947 Libretto by Ronald Duncan 1914-1982 after LeViol de Lucrèce by André Obey Op.37

Ian Bostridge Male Chorus Susan Gritton Female Chorus Christopher Purves Collatinus Benjamin Russell Junius Peter Coleman-Wright Tarquinius Angelika Kirchschlager Lucretia Hilary Summers Bianca Claire Booth Lucia

Aldeburgh Festival Ensemble Clio Gould violin I, Miranda Fulleylove violin II Carol Ella viola, Zoë Martlew cello, Lynda Houghton double bass Karen Jones flute, piccolo, alto flute, Melinda Maxwell oboe, cor anglais Timothy Lines clarinet, bass clarinet, Ben Hudson bassoon Katie Pryce horn, Julian Warburton percussion Manon Morris harp, Anna Tilbrook piano

Oliver Knussen conductor Jonathan Berman assistant conductor

Live recording from the 64th Aldeburgh Festival, 2011 3

Oliver Knussen 4 ACT ONE Scene 1 46:35 1 Rome is now ruled by the Etruscan upstart 2:30 Male Chorus 2 It is an axiom among kings 2:28 Female Chorus, Male Chorus 3 Here the thirsty evening has drunk the wine of light 2:34 Male Chorus 4 Who reaches heaven first is the best philosopher 2:23 Collatinus, Male Chorus, Junius, Tarquinius 5 Maria was unmasked at a masked ball 4:24 Junius, Tarquinius, Collatinus, Male Chorus 6 Collatinus is politically astute 4:14 Male Chorus, Junius, Collatinus, Tarquinius 7 Goodnight!... There goes a happy man! 4:00 Collatinus, Tarquinius, Junius 8 Tarquinius does not dare 2:14 Male Chorus 9 My horse! My horse! Interlude: Tarquinius does not wait 2:58 Tarquinius, Male Chorus Scene 2 10 Their spinning wheel unwinds 5:21 Female Chorus, Lucretia, Bianca, Lucia 11 Listen! I heard a knock 2:46 Lucretia, Bianca, Lucia 12 Ah!... Time treads upon the hands of women 3:26 Lucia, Bianca, Female Chorus, Lucretia 13 The oatmeal slippers of sleep 1:51 Female Chorus, Male Chorus 14 Lucia runs to the door 5:23 Female Chorus, Tarquinius, Male Chorus, Bianca, Lucia, Lucretia 5 ACT TWO Scene 1 58:58 1 The prosperity of the Etruscans was due 7:29 Female Chorus, Male Chorus, Collatinus, Lucia, Junius, Bianca 2 She sleeps as a rose upon the night 2:46 Female Chorus 3 When Tarquinius desires 2:12 Male Chorus 4 Within this frail crucible of light 4:01 Tarquinius, Female Chorus 5 Lucretia!... What do you want? 5:47 Tarquinius, Lucretia, Male Chorus, Female Chorus 6 Interlude: Here in this scene you see 3:51 Female Chorus, Male Chorus Scene 2 7 Oh! What a lovely day! 5:56 Lucia, Bianca 8 Good morning, my lady 3:27 Bianca, Lucia, Lucretia 9 Flowers bring to every year 3:18 Lucretia, Bianca 10 You were right. Tarquinius took one of the horses 2:39 Lucia, Bianca, Collatinus, Junius 11 Lucretia! Lucretia! O, never again must we two dare to part 4:50 Collatinus, Lucretia 12 Last night Tarquinius ravished me 3:28 Lucretia, Collatinus 13 This dead hand lets fall 3:57 Collatinus, Junius, Bianca, Lucia, Female Chorus, Male Chorus 14 Epilogue: Is it all? 5:14 Female Chorus, Male Chorus 6

Ian Bostridge Male Chorus Susan Gritton Female Chorus 7 THE RAPE OF LUCRETIA that trap most of Britten’s central characters – indeed, is the only one who is still living when the curtain falls. In Humphrey Carpenter’s biography of Britten And Lucretia? In any good production of Lucretia – I recounted listening to the composer reading from and also of Billy Budd – I cannot be alone in half hoping an article about his opera Owen Wingrave that suggested that some kind of deus ex machina might appear to that all of his operas were concerned with the corrupt- rescue these poor victims and save them from their ion of innocence. This he declared, with considerable cruel fates. Such an intervention would, of course, vehemence, to be ‘utter rubbish’. The force with which destroy the whole point of the drama, but the reaction he dismissed such a hypothesis suggested to me at the ‘why do they have to die?’ is the same in both cases and time that it must to some extent have hit home, and I is what makes these operas so moving and involving. often wish that I had had the courage to ask him why Of course, whereas Billy is incapable of saving himself, he rejected it so absolutely. Of course not all of Britten’s it is Lucretia’s own decision that ends her life – her operas are concerned with innocence, corrupted or situation, unlike Budd’s, is in her own hands. Why was otherwise, but it is such a strong thread running Britten drawn to this particular moral question, and through so much of his work that no commentary at this time? can avoid addressing the issue. For a composer who had just had such an Perhaps it was the word ‘corruption’ that so upset outstanding success with Peter Grimes it seems on the Britten. In the operas, only Miles and Flora in The Turn face of it a strange decision for Britten to have turned of the Screw are corrupted by outside forces, yet the his back on the big stage and created a chamber work theme of innocence – or perhaps more accurately of whose subject matter appears to be so dissimilar. But figures who are unable to assert themselves against fate the tensions within Sadler’s Wells Opera, both during – constantly recurs. Peter Grimes is no innocent, but the production of Grimes and afterwards, and the he cannot help himself, and his apprentices are the hostility of many members of the company, pushed innocent victims of his hopelessly flawed character. Britten away from grand opera and towards a very Billy Budd is the quintessential innocent, uncorruptible different narra tive on a much smaller scale. Very little but a victim through circumstances over which he has more than a year after the premiere of Grimes – an no control; Owen Wingrave is similarly a victim whose astonishing year that also saw the composition of the death is irrational and unnecessary; as is Aschenbach, Donne Sonnets, the Young Person’s Guide and the Second beguiled by the apparent innocence of Tadzio and String Quartet – The Rape of Lucretia was produced acting contrary to all logic. Leaving aside Gloriana and at Glyndebourne in July 1946, and the English Opera A Midsummer Night’s Dream (although a case could be Group came into being. made for including the former), only Albert Herring, The new opera had been suggested by Eric Crozier another innocent, is able to break free from the snares (the producer of Grimes), who some years earlier had 8 been much impressed by André Obey’s play Le Viol de The original ending, ‘Is this it all? It is all!’, was too Lucrèce. Ronald Duncan, who had been brought in to bleak for Britten, and he asked Duncan to add an epi- collaborate on Grimes when Britten became dissatisfied logue in which the two members of the chorus (whose with its librettist, Montagu Slater, used the play as the role throughout is to frame and comment on the basis for his libretto. His contribution has been much action) introduce Christian forgiveness as a means to criticised as too elaborate and flowery, but it was resolve the tragedy – shame becomes sin to be absolved. evidently the libretto that Britten wanted, and his own It is hard to feel that Lucretia’s death has been validated input was substantial. There is no denying that, read by such an artifice, or that it is either necessary or separately from the music, the words come across as appropriate; but the musical resolution overrides such over-complex and sometimes rather precious. Yet for misgivings. all that the libretto seems at odds with Britten’s often A word needs to be added about recent productions spare and restrained music it clearly kindled the com- of the ‘original’ version of Lucretia – the opera was poser’s imagination. He protested, characteristically, substantially revised shortly after the initial production, that the process of composition was ‘loathesome’ (sic), and it is this revised version that is performed here. It but the opera was composed and scored in just over has been suggested that the revision radically altered three months. the work’s message, against Britten’s wishes, but this Both Lucretia and its successor Albert Herring (com- is not the case at all. While many changes were made pleted only nine months after the first performance of to both text and music, the only significant difference Lucretia) were suggested to Britten as subjects rather is the omission of an aria for Collatinus, made for than – as was the case with virtually every other opera dramatic reasons in order to shorten the long first – initiated by him. Perhaps as a consequence the theme scene of Act One. However, its disappear-ance means of innocence is less central, more ambivalent. In an essay that the particular significance of Lucretia’s ‘Oh, my Christopher Palmer went so far as to suggest that the beloved Collatinus’,as she tries to resist Tarquinius, theme was ‘corruptibility’, and there is no point in deny- is lost, as she sings these words to the melody of ing the ambiguity, in the libretto at least, of Lucretia’s Collatinus’ now missing ‘Love is all desperation’. response to Tarquinius. That she does not consent goes without saying – this is an opera about rape, after all – C Colin Matthews 2011 but the reason for a shame so great that it can only be expiated by death is not obvious. Her husband This introduction was first published in the Aldeburgh Festival Collatinus says ‘If spirit’s not given, there is no need of concert programme in June 2011 shame’, but Lucretia will have none of this. ‘My wanton blood washes my shame away’ is her response, and suicide is her only option. 9 SYNOPSIS combination of refinement and violence in the Etruscan psyche, while offstage voices express the Act One The Male and Female Chorus describe the Romans’ growing resentment at Etruscan rule. background to the action, which takes place in 509 bc, Lucretia is asleep in bed. Tarquinius steals through with Rome under the rule of the Etruscan king the silent house to her bedroom and stands by her bed, Tarquinius Superbus. His licentious son, Tarquinius admiring her beauty in the candlelight. He kisses her, Sextus, the Tarquinius of the drama, leads the Roman and she initially responds, dreaming of her husband, forces in their war against the Greeks. The Choruses then wakes to find Tarquinius leaning over her. He undertake to act as intermediaries between the stage protests his longing for her; she resists, declaring her- action and the audience and will comment on the self wholly the wife of Collatinus. Though she argues drama from a Christian perspective. and struggles against him, Tarquinius climbs onto the On a hot, still evening in a military camp outside bed, extinguishes the candle and rapes Lucretia. The Rome the generals Collatinus and Junius drink and Choruses observe this scene of human frailty and pray quarrel with Tarquinius. The previous evening some of to Mary, Mother of God. the officers returned home unannounced to surprise It is early morning, and Bianca and Lucia rejoice their wives; only Collatinus’s wife Lucretia was found to in the beautiful day. They fetch baskets of flowers and be faithful. The ambitious Junius is jealous of Collatinus’ arrange them. Tarquinius has left; Bianca heard his good fortune and when Collatinus retires he and horse before dawn. Lucretia appears, and responds Tarquinius continue to discuss the virtuous Lucretia. dully to the women’s questions, then in an anguished Tarquinius is tormented by the idea of her chastity outburst demands that Lucia send a messenger to and determines to put it to the test. The Male Chorus summon Collatinus home, speaking obscurely of her describes his impetuous ride to Rome. shame. She takes orchids and weaves them into a In Collatinus’s house Lucretia is sewing while her funeral wreath. Collatinus arrives with Junius and old nurse Bianca and young maid Lucia sit spinning. learning that Tarquinius has been at his house, he fears Lucretia is anxious while her beloved Collatinus is away for Lucretia’s safety. Lucretia reappears in purple and longs for his return. Night falls and the women mourning and tells her husband that their love has been prepare for bed. There is a knock at the door and Lucia destroyed by Tarquinius, who has ravished her. Though admits Tarquinius, who asks Lucretia for hospi tality. Collatinus attempts to persuade Lucretia that she is Lucretia is fearful, but cannot refuse the Prince of guiltless she is overwhelmed by shame and kills herself. Rome; she gives him wine, then the three women Collatinus, Bianca and Lucia kneel by her body; Junius and Tarquinius bid one another a formal goodnight. announces Tarquinius’s crime to the crowd outside. In an epilogue the two Choruses find a Christian Act Two The Female Chorus describes the message in Lucretia’s tragedy. 10

Christopher Purves Collatinus Benjamin Russell Junius 11 THE RAPE OF LUCRETIA nécessaire – tout comme l’est Aschenbach, séduit par [« Le viol de Lucrèce »] l’apparente innocence de Tadzio et agissant à l’encontre de toute logique. En laissant de côté Gloriana et A Mid- Dans sa biographie de Britten, Humphrey Carpenter summer Night’s Dream (« Le Songe d’une nuit d’été »), me fait évoquer ce jour où je vis le compositeur lire bien qu’il y ait des arguments pour prendre en compte un article au sujet de son opéra Owen Wingrave, article le premier, seul Albert Herring, un autre innocent, qui laissait entendre que tous ses opéras avaient trait parvient à se libérer des pièges dans lesquels tombent à la corruption de l’innocence. Il avait alors rétorqué, la plupart des protagonistes de Britten – de fait, c’est avec une véhémence inouïe, que ce n’était que « pure le seul qui soit encore en vie lorsque le rideau tombe. sottise ». La virulence avec laquelle il contrait une telle Et Lucrèce ? Dans toute bonne production de hypothèse ne m’en fit pas moins penser que cela devait Lucretia – mais aussi de Billy Budd – il est impossible avoir remué quelque chose en lui, et je me suis souvent que je sois le seul à presque souhaiter qu’un deus ex dit que j’aurais dû avoir le courage de lui demander machina veuille bien paraître afin de secourir ces pourquoi il la rejetait aussi catégoriquement. Il va pauvres victimes et les arracher à leurs cruels destins. de soi que tous les opéras de Britten ne traitent pas Une telle intervention, naturellement, ne ferait de l’innocence, corrompue ou non, mais c’est un fil qu’anéantir tout l’intérêt du drame, mais la réaction conducteur si puissamment présent dans une grande « pourquoi faut-il qu’ils meurent ? » s’impose dans les partie de son œuvre qu’aucun commentaire ne peut deux cas, et c’est ce qui rend ces opéras si émouvants faire l’impasse sur cette question. et prenants. Bien sûr, si Billy est incapable de se sauver Peut-être est-ce le mot « corruption » qui révolta lui-même, la mort de Lucrèce tient à sa propre tant Britten. Dans les opéras, seuls Miles et Flora décision : à la différence de Billy, son destin est entre ses dans The Turn of the Screw (« Le tour d’écrou ») sont mains. Pourquoi Britten fut-il attiré par cette question corrompus par des forces extérieures, cependant le morale spécifique, et pourquoi à ce moment précis ? thème de l’innocence – ou, plus précisément peut-être, Pour un compositeur qui comme Britten venait de de figures se révélant incapables de se dresser contre connaître avec Peter Grimes un si retentissant succès, le destin – réapparaît constamment. Peter Grimes cette décision de tourner le dos à la grande scène pour n’est pas innocent, mais il n’est pas non plus maître de créer une œuvre de chambre sur un thème aussi lui-même, si bien que ses apprentis sont les innocentes différent peut à première vue sembler étrange. Mais victimes de sa nature désespérément imparfaite. Billy les tensions au sein du Sadler’s Wells Opera, tant Budd est la quintessence de l’innocence, incorruptible pendant la production de Peter Grimes qu’après, ainsi en même temps que victime de circonstances sur que l’hostilité de nombreux membres de la compagnie lesquelles il n’a aucune prise. Owen Wingrave est lui incitèrent Britten à s’éloigner de l’opéra grand format aussi une victime, sa mort étant irrationnelle et non pour se tourner vers une forme narrative très 12 différente et à une échelle bien plus réduite. À peine l’innocence y apparaît moins central, plus ambivalent. plus d’un an après la création de Peter Grimes – une Christopher Palmer, dans un essai, est allé jusqu’à année étonnante qui vit également la composition des suggérer que le thème était la « corruptibilité », et il Sonnets sur les poèmes de Donne, le Young Person’s serait vain de nier l’ambiguïté, du moins dans le livret, Guide et le Deuxième Quatuor à cordes – The Rape de la réponse de Lucrèce à Tarquin. Qu’elle n’est pas of Lucretia fut produit à Glyndebourne au moment consentante va sans dire – c’est un opéra sur le viol, où l’English Opera Group voyait le jour. après tout – mais la raison d’une honte si grande qu’elle Le nouvel opéra avait été suggéré par Eric Crozier ne peut être expiée que par la mort n’est certes pas (le metteur en scène de Peter Grimes), qui quelques évidente. Son époux, Collatin, dit que « si l’esprit ne années plus tôt avait été très impressionné par la pièce s’est donné, il n’est nul besoin de honte », mais Lucrèce d’André Obey Le Viol de Lucrèce (1931). Ronald Duncan, n’en a que faire. « Mon sang licencieux lave ma honte », qui avait commencé de collaborer sur Peter Grimes telle est sa réponse, et le suicide sa seule option. lorsque Britten était devenu insatisfait de son La conclusion initiale – « Est-ce là tout ? C’est librettiste, Montagu Slater, utilisa cette pièce comme tout ! » – était trop sombre pour Britten, et il demanda base de son livret. Jugée trop élaborée et fleurie, sa à Duncan d’ajouter un épilogue dans lequel les deux contribution fut très critiquée, mais c’était à l’évidence membres du chœur (dont le rôle est d’un bout à l’autre le livret que Britten voulait – le compositeur y ayant d’encadrer et de commenter l’action) introduisent le lui-même pris une part substantielle. Il ne fait aucun pardon chrétien en tant que moyen de résoudre la doute que lues isolément, sans la musique, les paroles tragédie – la honte devient péché, qui peut être absous. apparaissent d’une complexité excessive, jusqu’à par- Il est malaisé de se ranger à l’idée que la mort de fois une certaine préciosité. Mais même si le livret Lucrèce puisse être validée par un tel artifice, qui peut sembler en contradiction avec la musique souvent n’apparaît pas plus nécessaire qu’approprié – mais la concise et retenue de Britten, il stimula indéniablement résolution musicale dépasse de tels scrupules. l’imagination du compositeur. Et s’il prétendit, comme Sans doute n’est-il pas inutile d’ajouter un mot quant à son habitude, que le processus de composition lui aux récentes productions de la version « originale » de « répugnait », l’opéra n’en fut pas moins composé et Lucretia – l’opéra fut substantiellement révisé peu après orchestré en à peine plus de trois mois. la production initiale, et c’est cette version révisée qui Tant Lucretia que l’ouvrage suivant, Albert Herring est ici proposée. On a prétendu que la révision altérait (achevé neuf mois seulement après la première repré- radicalement le message de l’œuvre, contre les souhaits sentation de Lucretia), furent suggérés en tant que de Britten, mais ce n’est pas du tout le cas. Si nombre sujets à Britten plutôt que – comme ce fut le cas de de changements ont été apportés tant au texte qu’à la presque tous ses autres opéras – initiés par lui. Avec musique, la seule différence significative est l’omission, peut-être pour conséquence que le thème de pour des raisons d’ordre dramatique, d’un air chanté 13 par Collatin – il s’agissait d’écourter la longue SYNOPSIS première scène de l’Acte I. Néanmoins, cette disparition a pour conséquence que la signification Acte I Le chœur masculin (un ténor) et le chœur particulière des paroles de Lucrèce « Oh, my beloved féminin (une soprano) décrivent l’arrière-plan de Collatinus », alors qu’elle tente de résister à Tarquin, l’action, située sous le règne du dernier roi de Rome, disparaît, puisqu’elle chante ces mots sur la mélodie d’ascendance étrusque, Lucius Tarquinius Superbus de l’air désormais manquant de Collatin : « Love is all (Tarquin le Superbe), en 509 av. J.-C. Son fils débauché, desperation » – « L’amour n’est que désespérance ». Sextus Tarquinius – le Tarquin du drame – est à la tête des forces romaines dans leur guerre contre les Grecs. C Colin Matthews 2011 Les chœurs tiendront lieu d’intermédiaires entre l’action scénique et le public tout en commentant le drame d’un point de vue chrétien. Par une chaude soirée d’été, dans un camp militaire à l’extérieur de Rome, Collatinus (Tarquin Collatin) et Junius boivent et se querellent avec Tarquinius. Le soir précédent, certains officiers étaient rentrés chez eux de façon inopinée, pour surprendre leurs épouses ; seule l’épouse de Collatinus, Lucretia (Lucrèce), ne fut trouvée en faute. L’ambitieux Junius est jaloux de la bonne fortune de Collatinus, et lorsque ce dernier se retire, Junius et Tarquinius continuent de s’entretenir sur la vertueuse Lucretia. Tarquinius est obnubilé par l’idée de sa chasteté et décide de la mettre à l’épreuve. Le chœur masculin décrit son impétueuse chevauchée vers Rome. Dans la maison de Collatinus, Lucretia coud cependant que sa vieille nourrice Bianca et sa jeune servante Lucia filent la laine. Lucretia, en l’absence de son bien-aimé Collatinus, est anxieuse et espère ardemment son retour. La nuit silencieuse tombe sur Rome et les femmes s’apprêtent à aller se coucher. On entend frapper à la porte et Lucia fait entrer Tarquinius, qui demande à Lucretia l’hospitalité. Bien 14 que remplie d’appréhension, Lucretia ne peut refuser amour a été détruit par Tarquinius, lequel l’a souillée. le prince de Rome. Elle lui sert du vin, puis les trois Collatinus tente de persuader Lucretia qu’elle n’est femmes et Tarquinius se souhaitent cérémonieusement pas coupable, mais elle se sent accablée de honte et se une bonne nuit. donne la mort. Collatinus, Bianca et Lucia s’agenouillent devant sa dépouille ; Junius annonce le crime de Acte II Le chœur féminin décrit le mélange de Tarquinius à la foule au-dehors. raffinement et de violence de la psyché étrusque, Dans un épilogue, les deux chœurs trouvent un tandis qu’en coulisses des voix laissent libre cours message chrétien dans la tragédie de Lucretia. au ressentiment croissant des Romains à l’encontre du pouvoir étrusque. Traduction : Michel Roubinet Alors que Lucretia dort dans son lit, Tarquinius, sans faire de bruit, se glisse à travers la maison jusqu’à sa chambre ; debout près de son lit, il admire sa beauté à la lueur de la bougie. Il l’embrasse – elle lui répond, au début, rêvant de son époux, puis s’éveille, trouvant Tarquinius penché sur elle. Il proteste de son désir pour elle ; elle résiste, se proclamant pleinement l’épouse de Collatinus. Bien qu’elle s’y oppose et se débatte, Tarquinius monte sur le lit, souffle la bougie et viole Lucretia. Les chœurs observent cette scène d’humaine faiblesse et prient Marie, mère de Dieu. Tôt le matin, Bianca et Lucia se réjouissent d’une belle journée. Elles apportent des brassées de fleurs et les arrangent. Tarquinius est parti ; Bianca a entendu son cheval avant l’aube. Lucretia paraît et répond triste- ment aux questions des femmes puis, dans un sursaut d’angoisse, demande à Lucia d’envoyer à Collatinus un messager pour lui demander de rentrer, évoquant confusément sa honte. Elle prend des orchidées et les tresse en couronne mortuaire. Collatinus survient avec Junius et, apprenant que Tarquinius est venu chez lui, s’effraye pour Lucretia. Celle-ci paraît, vêtue de pourpre en signe de deuil, et dit à son époux que leur 15

Peter Coleman-Wright Tarquinius Angelika Kirchschlager Lucretia 16 THE RAPE OF LUCRETIA der von Tadzios vermeintlicher Unschuld betörte Aschenbach, der aller Logik zuwider handelt. Lassen wir Gloriana und A Midsummer Night’s Dream außeracht In Humphrey Carpenters Britten-Biographie habe (obwohl es Argumente gäbe, die erstgenannte Oper ich davon erzählt, wie Benjamin Britten einmal einen einzubeziehen), so finden wir nur in Albert Herring Artikel über seinen Owen Wingrave vorlas, in dem einen Unschuldigen, der sich aus den Schlingen befreit, behauptet wurde, dass es in all seinen Opern um die in denen sich die meisten Hauptfiguren Brittens Verführung der Unschuld ginge. Das, so erklärte er fangen: Tatsächlich ist Herring der einzige, der noch ziemlich heftig, sei „völliger Blödsinn“. Da er diese lebt, wenn der Vorhang fällt. Vermutung mit solchem Nachdruck von sich wies, Und Lucretia? Ich bin gewiss nicht der einzige, der dachte ich damals, dass sie wohl einigermaßen ins bei einer guten Inszenierung der Lucretia – und des Schwarze getroffen hatte – und oft wünsche ich mir, Billy Budd – auf die Erscheinung eines deus ex machina dass ich mich getraut hätte, ihn nach dem Grund dieser hofft, der diese armen Opfer retten und vor ihrem totalen Ablehnung zu fragen. Natürlich geht es nicht grausamen Geschick bewahren werde. Natürlich in allen Opern Brittens um die Frage der Unschuld, würde ein solches Eingreifen die ganze dramatische ob sie nun verführt wird oder nicht. Gleichwohl zieht Pointe zerstören, doch in beiden Fällen fragen wir uns sich das Sujet als ein solch starker Faden durch sein ebenso ergriffen wie mitgenommen: Warum müssen Schaffen, dass kein Kommentar die Erörterung dieses sie sterben? Billy ist freilich nicht in der Lage, sich Gegenstands wird verhindern können. zu retten, wohingegen Lucretia beschließt, ihr Leben Vielleicht war es ja das Wort „Verführung“, das selbst zu beenden. Im Gegensatz zu Budd liegt ihr Britten so erzürnte. Von all seinen Opernfiguren Schicksal in den eigenen Händen. Warum interessierte werden nur Miles und Flora in The Turn of the Screw von sich Britten gerade damals für diese ganz besondere äußeren Kräften verführt, doch immer wieder kommt moralische Frage? er auf die Unschuld zurück – oder besser vielleicht: Für jemanden, der eben mit seinem Peter Grimes lässt er Gestalten auftreten, die sich selbst nicht gegen einen so überragenden Erfolg errungen hatte, scheint das Schicksal zu behaupten wissen. Peter Grimes ist es auf den ersten Blick seltsam, dass er sich von der kein Unschuldiger, doch er kann nicht anders, und großen Bühne abwandte und ein Kammerstück über seine Lehrbuben sind die unschuldigen Opfer seines ein ganz anders anmutendes Sujet komponierte. Doch hoffnungslos zerstörten Charakters. Billy Budd, im aufgrund der Spannungen, die während und nach der innersten Wesen unschuldig und unbestechlich, wird Produktion des Grimes an Sadler’s Wells Opera herrsch - zum Opfer von Umständen, die sich seiner Kontrolle ten, und wegen der Feindseligkeit vieler Ensemble- entziehen. Opfer sind auch Owen Wingrave, der einen mitglieder entfernte sich Britten von der großen Oper, irrationalen und überflüssigen Tod erleidet, sowie um sich mit einem völlig anderen und weit kleiner 17 dimensionierten Gegenstand zu befassen. Kaum mehr zentrale und weniger eindeutige Rolle. Christopher als ein Jahr nach der Premiere des Grimes – einem Palmer meinte in einem Essay sogar, es ginge um die erstaunlichen Jahr übrigens, in dem auch die Holy „Verführbarkeit“ und tatsächlich findet sich zumindest Sonnets of John Donne, der Orchesterführer für junge Leute im Libretto keine Stelle, die einen daran zweifeln ließe, und das zweite Streichquartett entstanden – erschien dass Lucretia gegenüber Tarquinius auf doppelsinnige The Rape of Lucretia auf der Bühne von Glyndebourne, Weise reagiert. Selbstredend ist sie nicht einverstanden und es entstand die English Opera Group. – schließlich handelt die Oper von einer Vergewalti - Der Vorschlag für den neuen Opernstoff stammte gung. Doch es wird nicht recht klar, warum sie ihre von Eric Crozier, dem Produzenten des Grimes, den große Scham nur durch den Freitod büßen kann. paar Jahre zuvor André Obeys Schauspiel Le Viol de Collatinus, ihr Gemahl, meint: „Wo der Geist sich nicht Lucrèce tief beeindruckt hatte. Ronald Duncan, den man hingibt, gibt es auch keinen Grund zur Scham“. Lucretia für den Grimes gewonnen hatte, als Britten mit dem will davon nichts wissen: „Mein lüsternes Blut wäscht Librettisten Montagu Slater nicht mehr zufrieden war, meine Scham ab,“ versetzt sie, der der Selbstmord als verwandte das Theaterstück als Grundlage seines Text- einziger Ausweg erscheint. buches. Man hat seinen Beitrag vielfach als zu kompli- Der ursprüngliche Schluss: „Ist das alles? Das ist ziert und blumig kritisiert, doch ganz offensichtlich alles!“ war Britten zu trostlos, weshalb er Duncan um hatte sich Britten genau dieses Libretto gewünscht, einen Epilog bat, in dem die beiden Mitglieder des und sein eigener Anteil daran war erheblich. Zweifellos Chores, die durchweg das Geschehen zu kommentieren wirken die Worte, wenn man sie losgelöst von der haben, die Idee der christlichen Vergebung als ein Musik liest, übermäßig komplex und mitunter recht Mittel vorstellen, mit dem sich die Tragödie lösen lässt: preziös. Gleichwohl wurde Brittens Imagination durch Scham wird zur Sünde und Gegenstand der Absolution. das Libretto, das der oftmals sparsamen, verhaltenen Es ist schwer einzusehen, dass Lucretias Tod durch Musik zu widersprechen scheint, eindeutig entfacht. diesen Kunstgriff einen höheren Wert erhielte, dass er Er beklagte sich auf seine typische Art, dass der Kom- notwendig oder angemessen wäre. Die musikalische positionsprozess „loathesome“, mithin „eckelhaft“ Auflösung überwindet indessen die Bedenken. (sic!) gewesen sei, doch war die Oper in kaum mehr Ein Wort ist noch zu den jüngsten Inszenierungen als drei Monaten komponiert und instrumentiert. der „Originalfassung“ zu sagen. Lucretia wurde kurz Sowohl Lucretia als auch ihr Nachfolger Albert nach der ersten Produktion bedeutend bearbeitet und Herring (der nur neun Monate nach der Uraufführung ist auch hier in der revidierten Version zu hören. Es der Lucretia vollendet wurde) entsprangen fremden wurde behauptet, die Eingriffe hätten die Botschaft des Vorschlägen und gingen nicht, wie sonst praktisch all Werkes radikal und gegen Brittens Willen verändert, seine Bühnenwerke, auf eigene Einfälle zurück. Viel- doch das stimmt in keinem Fall. Zwar wurde sowohl leicht spielt das Thema der Unschuld hier eine weniger am Text wie auch an der Musik vielerlei geändert, doch 18 der einzig signifikante Unterschied besteht darin, dass DER INHALT aus dramatischen Gründen eine Arie des Collatinus gestrichen wurde, um die lange erste Szene des ersten Erster Akt Der männliche und weibliche Chor Aktes zu straffen. Durch diese Streichung verlieren beschreiben den Hintergrund der Handlung, die sich freilich die Worte „Oh, mein geliebter Collatinus“, die im Jahre 509 v. Chr. zuträgt. Rom steht damals unter Lucretia bei ihrem Verteidigungsversuch gegenüber der Herrschaft des etruskischen Königs Tarquinius Tarquinius singt, an Bedeutung, weil sie auf die Superbus, dessen lasterhafter Sohn Tarquinius Sextus – Melodie der nunmehr fehlenden Arie „Love is all der Tarquinius des Schauspiels – die römische Armee desperation“ („Liebe ist nichts als Verzweiflung“) gegen die Griechen führt. Die Chöre bemühen sich um gesetzt sind. eine Vermittlerrolle zwischen dem Bühnen geschehen und dem Publikum und kommentieren das Drama aus C Colin Matthews 2011 christlicher Sicht. An einem heißen, ruhigen Abend trinken und streiten die Generäle Collatinus und Junius in einem Militärlager vor den Toren Roms mit Prinz Tarquinius. Am vorigen Abend hatten sich einige Offiziere unan- gekündigt nach Hause begeben, um ihre Ehefrauen zu überraschen, doch nur Lucretia, die Gemahlin des Collatinus, hatte sich als treu erwiesen. Der ehrgeizige Junius ist neidisch auf Collatinus, und diskutiert, nach- dem der Glückliche sich zur Ruhe begeben hat, mit Tarquinius weiter über die tugendsame Lucretia. Dem Prinzen macht die Vorstellung von der Keuschheit der Frau zu schaffen, und er beschließt, sie auf die Probe zu stellen. Der männliche Chor beschreibt seinen stürmischen Ritt nach Rom. Im Hause des Collatinus beschäftigt sich Lucretia mit einer Näharbeit, während ihre alte Amme Bianca und die junge Dienerin Lucia Wolle spinnen. Lucretia sorgt sich um den abwesenden Gemahl und sehnt sich nach seiner Heimkunft. Leise senkt sich die Nacht über Rom, und die Frauen schicken sich an, zu Bette zu gehen. Da klopft es an der Tür, und Lucia lässt 19 Tarquinius ein, der Lucretia um Gastfreundschaft Totenkranz. Collatinus trifft zusammen mit Junius ein. bittet. Lucretia fürchtet sich, kann aber den Prinzen Als er erfährt, dass Tarquinius im Hause gewesen sei, von Rom nicht abweisen und setzt ihm Wein vor. fürchtet er um Lucretias Sicherheit. Lucretia tritt Danach wünschen die drei Frauen und der Gast in purpurnem Trauergewand auf und gesteht ihrem einander förmlich eine Gute Nacht. Gemahl, dass Tarquinius ihre Liebe gewaltsam zerstört habe. Collatinus will Lucretia von ihrer Schuldlosigkeit Zweiter Akt Der weibliche Chor beschreibt die überzeugen, doch sie ist von ihrer Schande überwältigt Psyche des Etruskers in ihrer Kombination von und tötet sich selbst. Collatinus, Bianca und Lucia knien Raffinesse und Gewalt. Inzwischen hört man hinter bei ihrem Leichnam. Junius unterrichtet die draußen der Bühne die Stimmen der Römer, die sich immer wartende Menschenmenge von dem Verbrechen des deutlicher gegen die etruskische Herrschaft auflehnen. Tarquinius. Lucretia schläft in ihrem Bett. Tarquinius schleicht Im Epilog entdecken die beiden Chöre eine christ- sich durch das stille Haus in ihr Schlaf gemach und liche Botschaft in Lucretias Tragödie. bewundert, vor ihrem Lager stehend, im Kerzenschein ihre Schönheit. Er küsst sie, und sie erwidert zunächst Übersetzung: Eckhardt van den Hoogen den Kuss, weil sie von ihrem Gemahl träumt. Als sie erwacht, sieht sie, dass sich Tarquinius über sie beugt. Er beteuert seine Sehnsucht nach ihr. Sie widersetzt sich und lässt keinen Zweifel, dass sie einzig Collatinus gehöre. Ungeachtet ihrer Worte und Gegenwehr steigt Tarquinius auf das Bett. Er löscht die Kerze und vergewaltigt Lucretia. Die Chöre beobachten diese Szene menschlicher Schwachheit und beten zu Maria, der Mutter Gottes. Es ist früher Morgen. Bianca und Lucia freuen sich des schönen Tages. Sie nehmen Körbe mit Blumen auf und arrangieren diese. Tarquinius ist verschwunden. Bianca hörte sein Pferd noch vor dem Morgengrauen. Lucretia erscheint und antwortet stumpfsinnig auf die Fragen der Frauen. Dann befiehlt sie voller Wut, Lucia möge einen Boten aussenden, der Collatinus herbei- bringe. Während sie auf mysteriöse Weise von ihrer Schande spricht, flicht sie aus Orchideen einen 20

Hilary Summers Bianca Claire Booth Lucia 21 ACT ONE Female Chorus 2 It is an axiom among kings, to use Scene 1 A foreign threat to hide a local evil. House curtain rises showing Male Chorus and Female So here the grumbling Romans march from Rome Chorus reading from books. To fight the Greeks who also march from home; Both armies fretting under their own generals. Male Chorus Female Chorus closes her book. 1 Rome is now ruled by the Etruscan upstart: Tarquinius Superbus, the Proud, King. How slowly time here moves towards the date; But once servant to the late monarch This Rome has still five hundred years to wait Servius. How did Tarquinius reach the throne? Before Christ’s birth and death from which Time fled By making his own virtues and his will To you with hands across its eyes. But here Bend to the purpose of determined evil. Other wounds are made, yet still His blood is shed. In quiet humility he hid his pride; And running to agree with every faction Male and Female Chorus Divided the Roman court till each part While we as two observers stand between Sought him as an ally; and those he murdered, This present audience and that scene; He would mourn as though a friend had died. We’ll view these human passions and these years If piety impeded him, he’d pray with it. Through eyes which once have wept If greed, he’d bribe it; and always he’d pay his way with Christ’s own tears. With the prodigious liberality Of self-coined obsequious flattery; Front cloth rises. The scene is a camp outside Rome, So he climbed and married the king’s own daughter with the Generals’ tent in foreground. Whom he murdered; then married her sister, The self-seeking, self-appointed widow Male Chorus Who’d poisoned her first husband, the heir. 3 Here the thirsty evening has drunk the wine of light; Once joined in holy wedlock they throttled the king, Sated, the sun falls through the horizon, the air And now rule Rome by force and govern Sits on their backs like a heavy bear. by sheer terror. Only the noise of crickets alleviates Whilst their son, Tarquinius Sextus The weight of this silent evening. of whom you shall hear, Horses sensing thunder stamp in their stables; Leads Roman youth to Etruscan war Bull-frogs brag on their persistent note; And treats the proud city as if it were his whore. 22 Centurions curse their men, the men curse their luck, Male Chorus As they look towards Rome’s distant lights, The night is weeping with its tears of stars Which, bent in the Tiber, beckon through the night. But these men laugh – for what is sad is folly. And so they drink to drown their melancholy. The tent is opened from the inside. Collatinus, Junius and Tarquinius are seated, drinking. Tarquinius Who drowns in women’s eyes Collatinus And then drinks lips of pleasure 4 Who reaches heaven first Sucks all heaven in a kiss, Is the best philosopher. Then thirsts in hell for ever! Bacchus jumps there with a cup, Reason climbs there later. Omnes Oh, the only wine worth having Omnes (in the tent) Is love! Is love! Is love! Oh, the only cup worth filling Is this! Is this! Is this! Junius Love, like wine, spills easily as blood... Male Chorus They drink for their time is flowing with the night, Tarquinius And life is dark except where wine sheds light. And husbands are the broken bottles. But the officers are not generally drunk so early. Male Chorus Junius Last night some generals rode back to Rome Who reaches heaven last To see if their wives stayed chaste at home. Is the worst philosopher. Logic limps there on a rule, Junius Cupid flies there sooner. 5 Maria was unmasked at a masked ball.

Omnes Tarquinius Oh, the only girl worth having Celia was not found at all. Is wine! Is wine! Is wine! Flavius is still searching for her! 23 Junius A cuckold’s a cock And Maximus found that his wife Donata Without a crow, Had been served by some Sicilian actor! And Junius is a cuckold!

Tarquinius Junius (angrily) Sophia’s silver chastity belt So are you, too, Was worn by her coachman – as a collar! Tarquinius, Since you have made Junius The whole of Rome There Leda lay after a midnight bout, Your brothel. Too drunk to give a clear account. My wife’s untrue, But so is yours. Tarquinius For you unmarried Patricia lay naked with a negro, Can only know She told Junius she’d been having massage! The constancy Of whores. Collatinus You were fools to go at all! Tarquinius (rising) Fools to set the honour of your wives You forget I am the Prince of Rome! Against a drunken bet! I warned you not to go. Junius But I at least am Roman! Tarquinius Why should you complain? Tarquinius We found Lucretia safe at home. With a negro deputy in bed, It’s better to be Etruscan! Junius They brawl. The only wife who stood the test. Junius Tarquinius Spendthrift! And Collatinus has won the bet. Tarquinius And Junius is a cuckold Usurer! 24 Junius Collatinus Lecher! Peace! Peace! Save your swords till we meet the Greeks. Let us drink, Prince Tarquinius, a toast! Tarquinius Eunuch! Tarquinius Junius To the chaste Lucretia! Climber! To the lovely Lucretia! Tarquinius Omnes Upstart! Lucretia! Junius Junius rushes from the tent, closing the flap behind him. Rake! Junius Tarquinius Lucretia! Lucretia! Rat! I’m sick of that name. Junius Her virtue is You young sot! The measure of my shame. Now all of Rome Tarquinius Will laugh at me, You – old man! Or what is worse Junius Will pity me. Lewd licentious lout! Lucretia! Lucretia! Tarquinius Male Chorus Pagan dyspeptic pig! Oh, it is plain Junius That nothing pleases Ram reared! Your friends so much As your dishonour; Tarquinius For now they can Wolf weaned! Indulge in chatter Collatinus parts them. And patronise you With their patter 25 And if by chance Collatinus You lose your temper, How bitter of you, They say they tease How venomous In all good humour. To vent your rage on her! Why be so vicious, Junius Why so jealous? Tomorrow the city urchins will sing my name You’re blinded by grief to school, At Patricia’s unfaithfulness. And call each other ‘Junius’ instead of ‘Fool’. Collatinus will gain my fame with the Roman mob, Junius Not because of battles he has won The wound in my heart, – but because Lucretia’s chaste Collatinus, – and the Romans being wanton worship chastity. Will drive me to despair. Lucretia! I ask your forgiveness For being malicious, Male Chorus When you are so proud 6 Collatinus is politically astute of Lucretia’s virtue: to choose a virtuous wife. (aside) or good luck. Collatinus shines brighter from Lucretia’s fame. Collatinus offers Junius his hand. Collatinus is lucky, very lucky... Collatinus Oh, my God, with what agility Dear friend! does jealousy jump into a small heart, Junius And fit Collatinus! till it fills it, then breaks that heart. They embrace. Collatinus Junius (with venom) Those who love create Lucretia!... Fetters which liberate. Enter Collatinus from tent. Those who love destroy Their solitude, Their love is only joy. 26 Those who love defeat Junius Time, which is Death’s deceit. I’m ready to forget. Give me your hand, Tarquinius. Those who love defy Death’s slow revenge. Collatinus Their love is all despair. With you two arm in arm again, Rome can sleep secure. Tarquinius reels out of the tent. 7 Good night! Tarquinius Collatinus goes off towards his tent. Oh, the only girl worth having Is wine! Is wine! Is wine! Tarquinius And Junius is a... Good night!

Collatinus (stopping him) Junius Enough, Tarquinius! Good night!

Tarquinius Tarquinius A cuckold, a cuckold, a cuckold! There goes a happy man!

Junius Junius For God’s sake, stop! There goes a lucky man!

Collatinus Tarquinius You disgrace your rank by brawling like a common His fortune is worth more than my Etruscan crown. peasant. Junius Junius But he is subject to your crown! He’s drunk. Tarquinius Collatinus And I am subject to Lucretia. That’s enough, Junius! Leave Quarrelling to those with less Important tasks ahead. 27 Junius Junius What makes the Nubian It seems we agree. Disturb his heavy mountain? Why does he ravish Tarquinius The rock’s austerity But are not of the same opinion! And powder it to dust To find its secret lust, Junius Till in his hand he holds What do you mean? The cruel jewel? Is this all his hands were seeking? Tarquinius I am honest and admit Tarquinius As a woman’s my beginning, What drives the Roman Woman’s the end I’m seeking. Beyond his river Tiber? Why do Egyptians dare Junius The shark’s ferocity Well...? And grovel in the deep To rake its dream of sleep Tarquinius Till to his Queen he gives But as ambition is your beginning, The royal pearl? Power’s the end you’re seeking. Is this what his eyes were seeking? Junius Tarquinius, Junius That’s not true! But don’t let’s quarrel. If men were honest We’re both unfortunate: I, with my unfruitful, They would all admit faithless wife, you... That all their life Was one long search, Tarquinius A pilgrimage to a pair of eyes, – With my barren bevy of listless whores. In which there lies Oh, I am tired of willing women! a reflection greater than the image, It’s all habit, with no difficulty or achievement to it. a perfection which is love’s brief mirage. Junius But Collatinus has Lucretia... 28 Tarquinius Male Chorus But Lucretia’s virtuous. 8 Tarquinius does not dare, When Tarquinius does not desire; Junius But I am the Prince of Rome Virtue in women is a lack of opportunity. And Lucretia’s eyes my Empire. It is not far to Rome... Tarquinius Oh, go to bed, Tarquinius... Lucretia’s chaste as she is beautiful. The lights of Rome are beckoning... The city sleeps. Collatinus sleeps. Junius Lucretia! Lucretia! Women are chaste when they are not tempted. Lucretia’s beautiful but she’s not chaste. Tarquinius Women are all whores by nature. 9 My horse! My horse!

Tarquinius Front cloth falls as Tarquinius goes off with sudden No, not Lucretia! resolution.

Junius What?... Already jealous of her honour? Men defend a woman’s honour When they would lay siege to it themselves.

Tarquinius I’ll prove Lucretia’s chaste.

Junius No – that you will not dare! That you will not dare... Good night, Tarquinius.

Junius goes off: Tarquinius paces slowly up and down. 29 Interlude Now who rides? Who’s ridden? Tarquinius, the stallion? Male Chorus Or the beast, Tarquinius? Tarquinius does not wait In both blood furious For his servant to wake, With desire impetuous Or his groom to saddle; Burns for its quietus; He snatches a bridle With speed aflame through sweat and dust And forcing the iron bit The arrow flies straight as lust. Through the beast’s bared white teeth, But here they cannot cross. Runs him out of the stable, Turn back, Tarquinius; Mounts without curb or saddle Do not tempt the Tiber The stallion’s short straight back, Try to swim this river! And with heel and with knees Stallion rears, hoofs paw the stars, Clicks his tongue, flicks his whip, The Prince desires, so he dares! Throws the brute into a mad gallop. Now stallion and rider Impetuous the powered flanks, Wake the sleep of water And reckless the rider; Disturbing its cool dream Now the Prince and Arab steed With hot flank and shoulder. Bend as one for both are speed. Tarquinius knows no fear! Hear the hoofs punish the earth! He is across! He’s heading here! Muscles strain, tendons taut, Lucretia! Tail held high, head thrust back, All’s compact, nothing’s slack. See, the horse takes the bit Between his teeth, now no rein Can impede or stop him, Yet the Prince still whips him. 30 Scene 2 Female Chorus Front cloth rises, showing the hall of Lucretia’s home. Their restless wheel describes Lucretia is sewing, while Bianca and Lucia work at their Woman’s delirium; spinning wheels. Searching and searching Seeking the threads of their dreams Female Chorus Finding and losing 10 Their spinning wheel unwinds Dreams which desire has spun! Lucia Turning and turning till somebody loves her Twisting the shreds of their hearts from passion or pity. Over and over Meanwhile the chaste Lucretia gives Lucretia Life to her Lucia who lives till in one word all is wound. Her shadow and echo. Collatinus! Collatinus! Whenever we are made to part Female Chorus We live within each other’s heart, Their little wheel revolves, Both waiting, each wanting. Time spins a fragile thread; Turning and turning, Female Chorus They spin and they are spun, Their humming wheel reminds Endless, so endless Age of its loss of youth; Spinning and spinning Lucretia, Bianca and Lucia Teasing the fleece of their time, till our fabric’s woven Restless, so restless And our hearts are broken. Death is woman’s final lover Bianca In whose arms we lie forever till like an old ewe I’m shorn With our hearts all broken. Of beauty! of beauty! Though I have never been a mother, Lucretia stops the spinning with a gesture. Lucretia is my daughter When dreaming, when dreaming. 31 Lucretia Bianca 11 Listen! I heard a knock. Somebody is at the gate. It was your heart you heard. Lucia, run and see; perhaps it is a messenger. Run, Lucia! Lucretia Yes, it runs after him with steady beat Lucia runs to the door. Like a lost child with tireless feet. Bianca Come and sit down again my child; it is far too late Bianca for a messenger. Besides, you have already had two It is better to desire and not to have than not to letters from Lord Collatinus today. desire at all. Have patience, Madam.

Lucretia Lucretia Oh, if it were he come home again! These months How cruel men are we spend apart is time thrown in the grave. Perhaps To teach us love! this war is won or lost. What matters if it’s finished? They wake us from The sleep of youth Bianca Into the dream of passion, My child, to hope tempts disappointment. Then ride away While we still yearn. Lucretia How cruel men are But did you not hear anything? To teach us love. Lucia returns. Bianca Who was it? Madam is tired, it is getting very late.

Lucia Lucia There was no one there, Madam. Shall I put these wheels away, Madam?

Lucretia Lucretia I was sure I heard something. Yes, and then we’ll fold this linen. Lucia and Bianca begin folding the linen. 32 Lucia and Bianca Lucia, then with Bianca 12 Ah! Ah! Female Chorus They light candles and prepare to go to bed. Time treads upon the hands of women. Whatever Female Chorus happens, they must tidy it away. Their fingers punc - 13 The oatmeal slippers of sleep tuate each day with infinite detail, putting this here, Creep through the city and drag that there and washing all away. Before the marriage The sable shadows of night they prepare the feast. At birth or death their hands Over the limbs of light. must fold clean linen. Whatever their hearts hold, their hands must fold clean linen. Their frail fingers Male Chorus are love’s strong vehicle, and in their routine is a Now still night to sound adds home designed. Home is what man leaves to seek. Separate cold echo What is home but women? Time carries men, but As hoof strikes hard stone time treads upon the tired feet of women. On worn way, road to Rome. Lucretia Female Chorus How quiet it is tonight. Even the street is silent. The restless river now flows Out with the falling tide. Bianca And petals of stars fall out It is. I can almost hear myself thinking. On to its back and float. Lucretia Male Chorus And what are you thinking? Dogs at heel race and bark, Sleeping cocks wake and crow, Bianca Drunken whores going home That it must be men who make the noise. Turn to curse the Prince of Rome. And that Madam must be tired and should go to bed and leave this linen to Lucia and me. Female Chorus This city busy with dreams Lucretia Weaves on the loom of night O, I am not tired enough. It is better to do something A satin curtain which falls than lie awake and worry. But let us light the candles Over its ancient walls. and go to bed. 33 Male Chorus Male Chorus Now he’s through the city walls! The Prince bows over Lucretia’s hand. The black beast’s white with sweat, His unruly eyes run to her breast, Blood’s pouring from its hocks, And there with more thirst than manners rest. The Prince dismounts; and now he... Female Chorus Loud knock on door. In the following scene the characters Lucretia asks for the news; mime the actions described by the Male Chorus or Female Whether her Lord Collatinus is well, or ill Chorus. Whether the army’s put to flight. Female Chorus And what brings His Highness here with haste at night? None of the women move. It is too late for a messenger, Male Chorus The knock was too loud for a friend. Tarquinius laughs her fears away and asks her for some wine. Loud knock repeated.

14 Lucia runs to the door, hoping that Apollo’s Female Chorus called for her. With much relief she pours it. Anxiety’s cold hand grips Lucretia’s throat. She pales with an unspoken fear. Male Chorus He claims Lucretia’s hospitality. He says his horse is lame. Tarquinius (off) Open, in the name of the Prince of Rome! Bianca (aside) What brings the Prince Tarquinius here at this hour Female Chorus of the night? Lucia unbolts the door with excited haste. Lucia (aside) Male Chorus How can he dare to seek for shelter from Lucretia? Tarquinius enters Lucretia’s home. Bianca (aside) Female Chorus Oh, where is Lord Collatinus? The women curtsey. He is Prince of Rome. He should be here to greet Tarquinius His coming threatens danger to us. 34 Female Chorus Male and Female Chorus The Etruscan palace stands only across the city; And then all, with due formality, wish each other a final: but etiquette compels what discretion would refuse, so Lucretia leads Prince Tarquinius to his chamber, Lucretia, Lucia, Bianca and with decorum wishes him... Good night, your Highness.

Lucretia Tarquinius ... Good night, your Highness. Good night, Lucretia.

Female Chorus The house curtain slowly falls as the characters leave the stage Then Bianca, with that rude politeness at which and the Choruses pick up their books and continue reading. a servant can excel, curtseys and says:

Bianca Good night, your Highness.

Female Chorus Whilst Lucia, standing tip-toe in her eyes, curtseys lower than the rest, and shyly bids the Prince:

Lucia Good night, your Highness.

Male Chorus And Tarquinius, with true Etruscan grace, bows over Lucretia’s hand, then lifts it with slow deliberation to his lips...

Tarquinius Good night, Lucretia. 35 ACT TWO At the sound of the off-stage voices, symbolising the unrest in Rome, Male Chorus and Female Chorus stir uneasily. Scene 1 The house curtain rises showing the Choruses reading. Collatinus (off) Now Roman masters become Etruscan servants Female Chorus And all our city’s a bazaar to them. 1 The prosperity of the Etruscans was due To the richness of their native soil, Omnes (off) the virility of their men, Down with the Etruscans! and the fertility of their women..., When the Etruscan Princes conquered Rome Lucia (off) They founded the Imperial City, They recruit our sons and seduce our daughters Building it in stone. With public processions and Grecian games. And the Etruscan builders Watched the proud Romans sweat Omnes (off) As they toiled in mountain quarry. Rome’s for the Romans! Then the victors embellished their palaces With delicate silver and tapestries Junius (off) Which they taught the Roman nobility God knows it’s never been safe to speak one’s mind To weave in the shadows in Rome Of an Etruscan cellar. But now every whore has the Emperor’s ear. Through all their art there runs this paradox: Passion for creation and lust to kill. Omnes (off) Behind the swan’s neck they’d paint a fox, Down with the Etruscans! And on their tombs a wooden phallus stood. Bianca (off) Male Chorus Today, one either has friends who are officials And Tarquinius Superbus ruled in Rome Or one goes without and gets kicked around! Relentless as a torrid sun And the whole city... Omnes (off) Down with Tarquinius! 36 Omnes (off) Male and Female Chorus Now the she-wolf While we as two observers stand between sleeps at night This present audience and that scene; But each Roman We’ll view these human passions and these years marks his man. Through eyes which once have wept with Christ’s When the she-wolf own tears. bays at night Then their throats shall The front cloth rises showing Lucretia asleep in bed, know our knife. by the side of which a candle burns. Down with the Etruscans! Rome’s for the Romans! Female Chorus 2 She sleeps as a rose upon the night Male Chorus And light as a lily that floats on a lake And Tarquinius Superbus ruled in Rome Her eyelids lie over her dreaming eyes Relentless as a torrid sun. As they rake the shallows and drag the deep And the whole city sulked in discontent For the sunken treasures of heavy sleep. Hating the foreign aristocrats Thus, sleeps Lucretia. With their orgies and auguries And effete philosophies. Tarquinius is seen stealthily approaching Lucretia’s bed. There was whispering Behind shuttering Male Chorus And every stone that was thrown 3 When Tarquinius desires Spoke for the whole of Rome. Then Tarquinius will dare. Male Chorus closes his book. The shadows of the night conspire To blind his conscience and assist desire. All tyrants fall though tyranny persists Though crowds disperse the mob is never less. Panther agile and panther virile, For violence is the fear within us all The Prince steals through the silent hall. And tragedy the measurement of man And with all the alacrity of thought And hope his brief view of God. He crosses the unlit gallery, Oh, Christ heal our blindness which we mistake for sight, Where a bust of Collatinus And show us your day for ours is endless night. Stares at him with impotent blind eyes. 37 Now he is passing Bianca’s door. Tarquinius Wake up, old woman! Warn your mistress! As blood red rubies Set in ebony See how lust hides itself! Her lips illumine It stands like a sentinel, then moves with stealth. The black lake of night. The pity is that sin has so much grace, To wake Lucretia with a kiss It moves like virtue. Back Tarquinius! Would put Tarquinius asleep awhile. Tarquinius stands at the head of Lucretia’s bed. He kisses Lucretia. Female Chorus Female Chorus Thus sleeps Lucretia... Her lips receive Tarquinius She dreaming of Collatinus Tarquinius And desiring him draws down Tarquinius 4 Within this frail crucible of light And wakes to kiss again and... Like a chrysalis contained Lucretia wakes. Within its silk oblivion. (to candle) Tarquinius How lucky is this little light, 5 Lucretia! It knows her nakedness, And when it’s extinguished Lucretia It envelops her as darkness, What do you want? Then lies with her as night. (sudden anger) Tarquinius Loveliness like this is never chaste; You! If not enjoyed, it is just waste! Wake up Lucretia! Lucretia What do you want from me? Female Chorus No! sleep and outrace Tarquinius’ horse Tarquinius And be with your Lord Collatinus. Me! What do you fear? Sleep on, Lucretia, sleep on, Lucretia. Lucretia You! 38 In the forest of my dreams Tarquinius You have always been the Tiger. Give me.

Tarquinius Lucretia Give me your lips No! What you have taken Then let my eyes Never can you be given! See their first element Which is Tarquinius your eyes. Would you have given?

Lucretia Lucretia No! How could I give, Tarquinius, Since I have given to Collatinus, Tarquinius In whom I am, wholly; Give me your lips With whom I am, only; Then let me rise And without whom I am, lonely? To my first sepulchre Which is Tarquinius your thighs. Yet the linnet in your eyes Lifts with desire, Lucretia And the cherries of your lips No! Never! Are wet with wanting. Can you deny your blood’s dumb pleading? Tarquinius Give me your lips Lucretia Then let me rest Yes, I deny. On the oblivion Which is Tarquinius your breast. Through April eyes Your young blood sighs; Lucretia And denies No! refusal 39 and denial She turns away from him. of your lips’ frail lies. Lucretia Oh, my beloved Collatinus, Lucretia You have loved so well No, you lie! You have tuned my body To the chaste note of a silver lute Tarquinius And thus you have made my blood Can you refuse your blood’s desiring? Keep the same measure As your love’s own purity. Lucretia For pity’s sake, please go! Yes, I refuse! Tarquinius Tarquinius Loveliness like this Lucretia! Cannot be chaste Unless all men are blind! Lucretia Too late, Lucretia, too late! I refuse! Easier stem the Tiber’s flood Than to calm my angry blood, Tarquinius Which coursing to the ocean of your eyes Can you deny? Rages for the quietus of your thighs. Lucretia Lucretia I deny! Is this the Prince of Rome? Tarquinius Tarquinius Your blood denies! I am your Prince! Lucretia Lucretia You lie, you lie! Passion’s a slave and not a Prince! Tarquinius Tarquinius Lucretia! Then release me! 40 Lucretia Lucretia What peace can passion find? If beauty leads to this, Beauty is sin. He takes her in his arms. Tarquinius Tarquinius Lucretia! Lucretia! Though my blood’s dumb It speaks Lucretia Though my blood’s blind Though I am in your arms It finds. I am beyond your reach! Lucretia She struggles free. I am his, Male Chorus Not yours. Go! Tarquinius, Before the cool fruit of her breasts Tarquinius Burns your hand Beauty so pure And consumes your heart with that fire Is cruel. Which is only quenched by more desire. Through your eyes’ tears I weep. Female Chorus (going near to bed) For your lips’ fire Go! Tarquinius, I thirst. Before your nearness For your breast’s peace Tempts Lucretia to yield I fight. To your strong maleness. Lucretia Tarquinius Love’s indivisible. Beauty is all In life! Male and Female Chorus It has the peace Go! Tarquinius, Of death. Whilst passion is still proud And before your lust is spent Humbled with heavy shame. 41 If you do not repent Tarquinius Time itself cannot Poised like a dart Erase this moment from your name. Lucretia Tarquinius At the heart of woman I hold the knife But bleed. Male Chorus Though I have won Man climbs towards his God, I’m lost. Give me my soul Female Chorus Again Then falls to his lonely hell. In your veins’ sleep He mounts the bed. My rest. Omnes Lucretia See how the rampant centaur mounts the sky No! And serves the sun with all its seed of stars. Now the great river underneath the ground Tarquinius Flows through Lucretia and Tarquinius is drowned. Give me my birth Again Tarquinius beats out the candle with his sword. Out of your loins The front cloth falls quickly. Of pain! Though I must give I take.

Lucretia For pity’s sake, Tarquinius, Go! He pulls the coverlet from the bed and threatens her with his sword. 42 Interlude Scene 2 The front cloth rises showing the hall of Lucretia’s home Female Chorus and Male Chorus flooded with the early sun. Enter Lucia and Bianca. 6 Here in this scene you see Lucia and Bianca Virtue assailed by sin 7 Oh! What a lovely day! With strength triumphing All this is endless Lucia Sorrow and pain for Him. Look how the energetic sun Nothing impure survives, Drags the sluggard dawn from bed, All passion perishes, And flings the windows wide upon the world. Virtue has one desire To let its blood flow Bianca and Lucia Back to the wounds of Christ. Oh! What a lovely morning! She whom the world denies, Bianca Mary, Mother of God, And how light the soft mulberry mist Help us to lift this sin Lifts and floats over the silver Tiber. Which is our nature It’s going to be hot, unbearably hot, And is the Cross to Him. And by evening it will thunder. She whom the world denies, Mary most chaste and pure, Lucia and Bianca Help us to find our love Oh! What a lovely day! Which is His Spirit Flowing to us from Him. Lucia Listen how the larks spill Their song and let it fall Over the city like a waterfall. Oh! This is the day I’ve grown to.

Bianca But look! Here comes our spendthrift gardener With all his wealth of flowers. 43 They go to the window to fetch baskets filled with flowers. With the wind and rain and then be broken, Lucia and quite forgotten. Oh, what lovely flowers! So will my pretty vase enclose The sun’s extravagance Bianca which is the rose. It is as though the gods threw the stars Down at our feet. Bianca What is the age of lavender? Lucia Let me arrange them royally for Prince Tarquinius. Lucia Is the rose young or old? They arrange the flowers. Bianca Bianca and Lucia Oh, Lucia, please help me fill Now earth like a Mother My vase with laughing daffodils Holds out her breast to the lips of Spring. And about their stalks I’ll bind white jasmine Lucia and eglantine Where shall we put Then round the whole I’ll wind These violets, lilac and mimosa? columbine And what shall we do and leaves of vine. With all this honeysuckle? So will my little vase contain Which cupped like little children’s hands The sun’s exuberance Has begged from God slaked with rain. The precious scent of heaven.

Lucia Bianca Oh, Bianca! Then let me keep We’ll leave the orchids for Lucretia to arrange; These roses which in scarlet sleep Collatinus’ favourite flowers. Dream in tight buds of when They’ll open, Lucia Be wanton Bianca, how long will the Prince stay here? 44 Bianca Bianca and Lucia I think he’s already gone. I heard someone gallop 8 Good morning, my lady. out of the courtyard just before it was light. Bianca Lucia I hope you had happy dreams? That may not have been Tarquinius. Lucretia Bianca If it were all a dream Only a Tarquin would gallop on a cobbled road. Then waking would be less a nightmare.

Lucia Bianca Our Lady Lucretia is sleeping heavily this lovely Did you sleep well? morning. Shall I wake her? Lucretia Bianca As heavily as death. No, don’t disturb her. It isn’t often she sleeps so well Lucia forever fretting for Collatinus. Look, what a lovely day it is, And see how wonderful are all these flowers. Lucia I often wonder whether Lucretia’s love Lucretia Is the flower of her beauty Yes, what a lovely day it is, Or whether her loveliness And how wonderful are all these flowers. Is the flower of her love. You have arranged them prettily. For in her both love and beauty Are transformed to grace. Bianca But we have left his lordship’s favourite flowers Bianca For you to do. Hush! here she comes. Lucretia Enter Lucretia. How kind of you. Where are they? 45 Bianca Give him this orchid Here, my lady. And tell him a Roman harlot sent it. The most perfect orchids I have ever seen. And tell him to ride straight to her. Tell him to come home. Go! Lucretia takes the flowers, then suddenly loses all self-control. No! Wait, tell the messenger to take my love. Lucretia Yes, give my love to the messenger, How hideous! Give my love to the stable boy, Take them away! And the coachman, too. And hurry, hurry, for all men love Bianca The chaste Lucretia. But, my lady, they are such lovely flowers! Exit Lucia. These are the orchids you have grown. Bianca Lucretia Shall I throw the rest away, Madam? Take them away, I tell you! Oh! Monstrous flower! Lucretia Oh! Hideous hour! No, I will arrange them. Lucia, go send a messenger to my Lord Collatinus. What are you waiting for, girl? Go! Bianca Here are the flowers. Lucia Lucretia sits and without being aware of her action, What message, Madam, makes a wreath with the orchids. Shall I give the messenger To take to Lord Collatinus? Lucretia 9 Flowers bring to every year Lucretia seizes an orchid. the same perfection; Lucretia Even their root and leaf keep Give him this orchid. Solemn vow in pretty detail. Tell him I find Flowers alone are chaste Its purity For their beauty is so brief. Apt; and that its petals contain Years are their love Woman’s pleasure and woman’s pain, and time’s their thief. And all of Lucretia’s shame. 46 Women bring to every man Lucia the same defection; 10 You were right. Tarquinius took one of the horses. Even their love’s debauched By vanity or flattery. Bianca Flowers alone are chaste. What did you tell the messenger? Let their pureness show my grief To hide my shame Lucia and be my wreath. Lord Collatinus to come immediately.

Bianca Bianca My child, you have made a wreath. He must not come. Words can do more harm than good. Only time can heal. Has the messenger gone? Lucretia This is how you taught me as a child Lucia To weave the wild flowers together. Not yet. Do you remember yesterday That was a hundred years ago? Bianca Do you remember? Then go and stop him. Quick, do as I say. Exit Lucretia. Lucia Bianca But Lucretia said... Yes, I remember! I remember when her hair Bianca fell like a waterfall of night Do as I say, quick! Hurry! over her white shoulders. Exit Lucia. And when her ivory breasts Sometimes a good servant First leaned from her ivory tree. Should forget an order And I remember how And loyalty should disobey. She ran down the garden of her eyes Sometimes a servant To meet Collatinus. Yes, I remember. Knows better than her mistress, When she is servant to her heart’s distress. Enter Lucia. Enter Lucia. Did you stop him? 47 Lucia Collatinus It was too late. You’re lying.

Bianca Junius Too late? Where is Lucretia?

Lucia Bianca Lord Collatinus is here. Asleep. My Lady’s still asleep.

Bianca Collatinus Collatinus? Alone? Why did you not come to greet us at the gate?

Lucia Junius No, Junius rode with him. Perhaps they were frightened that Tarquinius had come back. Bianca Oh God, why should he come now? Collatinus Has Tarquinius been here? Answer me! Enter Collatinus and Junius. Collatinus Bianca Where is Lucretia? O, do not ask, my Lord. Tell me, Where is your Lady Lucretia? Collatinus Tarquinius here? Bianca She is well. Junius Last night I heard him gallop from the camp and Collatinus I watched for his return, fearing his jealousy of you. Then why was the messenger sent to me? He came back at dawn with his horse foundered, so I came to warn you. Bianca No messenger left here. Collatinus Too late, Junius, too late, too late. 48 Lucretia is seen slowly walking towards Collatinus. Collatinus She is dressed in purple mourning. In your eyes I see Only the image of eternity Collatinus And a tear which has no shadow. 11 Lucretia! Lucretia! O, never again must we two dare to part. Lucretia For we are of one another Then turn away, for I must tell And between us, Though telling will there is one heart. Turn your tender eyes to stone And rake your heart and bring the bones Lucretia Of grief though the rags of sorrow. To love as we loved 12 Last night Tarquinius ravished me and... Was to be never but as moiety; Tore the fabric of our love. To love as we loved What we had woven Was to die, daily with anxiety; Tarquinius has broken. What I have spoken Lucretia and Collatinus Never can be forgotten. To love as we loved Oh, my love, our love was too rare Was to live, on the edge of tragedy. For life to tolerate or fate forbear from soiling. For me this shame, for you this sorrow. Lucretia Now there is no sea deep enough Collatinus To drown my shame; If spirit’s not given, there is no need of shame. Now there is no earth heavy enough Lust is all taking, – in that there’s shame. To hide my shame; What Tarquinius has taken Now there is no sun strong enough Can be forgotten; To lift this shadow; What Lucretia has given Now there is no night dark enough Can be forgiven. To hide this shadow. Collatinus kneels to Lucretia. Dear heart, look into my eyes, Can you not see the shadow? Lucretia Even great love’s too frail To bear the weight of shadows. 49 Now I’ll be forever chaste, Now place the wreath about her head She stabs herself. And let the sentinels of the dead With only death to ravish me. Guard the grave where our Lucretia lies. See, how my wanton blood So brief is beauty. Washes my shame away! Why was it begun? It is done. She dies. Female Chorus Collatinus (kneeling over the body of Lucretia) Beauty is the hoof of an unbroken filly 13 This dead hand lets fall Which thundering up to a hazel hedge All that my heart held when full Leaps into the sun When it played like a fountain, prodigal And is gone. With love liberal, So brief is beauty. Wasteful. Why was it begun? It is done. So brief is beauty. Is this it all? It is all! Male Chorus They have no need of life to live; Junius goes towards the window and addresses the crowd They have no need of lips to love; below. They have no need of death to die; Junius In their love all’s dissolved Romans arise! In their love all’s resolved. See what the Etruscans have done! O, what is there but love? Here lies the chaste Lucretia, dead, Love is the whole. It is all! And by Tarquinius ravished. Now let her body be Omnes Borne through our city. How is it possible that she Destroyed by beauty Being so pure should die! Their throne will fall. I will rule! How is it possible that we Grieving for her should live? Bianca and Lucia (over Lucretia’s body) So brief is beauty. She lived with too much grace to be Is this it all? It is all! It is all! Of our crude humanity. For even our shame’s refined Collatinus, Junius, Bianca and Lucia kneel around By her purity of mind. Lucretia’s body. They stay like this till the end of the opera. 50 Epilogue And He, carrying all turns round Female Chorus Stoned with our doubt and then forgives us all. 14 Is it all? Is all this suffering and pain, For us did He Is this in vain? live with such humility; Does this old world grow old For us did He In sin alone? die that we Can we attain might live, and He forgive nothing But wider oceans of our own tears? Wounds that we make And it, can it gain and scars that we are. nothing In His Passion But drier deserts of forgotten years? Is our hope Jesus Christ, Saviour. He is all! He is all! For this did I See with my undying eye The lights fade on the mourning group. Only Female His warm blood spill Chorus and Male Chorus remain lit. Upon that hill And dry upon that Cross? Male and Female Chorus Since Time commenced or Life began Is this all loss? Great Love has been defiled by Fate or Man. Are we lost? Now with worn words and these brief notes we try Answer us To harness song to human tragedy. Or let us die in our wilderness. Is it all? Is this it all? The house curtain slowly falls.

Male Chorus It is not all. Though our nature’s still as frail And we still fall, And that great crowd’s no less Upon that road endless and uphill; C Copyright 1946, 1947 by Hawkes & Son for now (London) Ltd. Reproduced by permission of He bears our sin and does not fall Boosey & Hawkes Music Publishers Ltd.

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Oliver Knussen, Ian Bostridge, Susan Gritton