Classical Concert Reviews Cinci

@uc_ccm just presented an absolutely fabulous production of Benjamin Britten’s The Rape of Lucretia as part of its MainStage Opera series. Setting a libretto by Ronald Duncan based on a play by André Obey, with its title role written for the much-lamented contralto Kathleen Ferrier, the opera explored issues most other operas of its day wouldn’t dare touch, such as misogyny, sexual violence, xenophobia and martyrdom, as described by the director Darya Zholnerova.
Musically, The Rape of Lucretia was among the most impressive interpretations of a Britten opera Cincinnati has seen in years. Under graduate assistant conductor Stephen Hardie, the 13 student musicians assembled in the pit of Patricia Corbett Theater brought Britten’s eerily evocative score to life. Praise must go especially to percussionist Jun Zheng, harpist Madeline Arney and pianist Joe Stevens.
Tess Klibanoff (@tess.rachel.mezzo) as Lucretia was the embodiment of a vulnerable soul, with great dramatic presence and a voice full of emotional weight and subtlety. Baritone Soren Pedersen as Tarquinius was the perfect choice for a character who is so inherently evil, yet displayed vocal athleticism and volatility which was unmatched.
Tenor Henry Benson (@jhenrybv) and soprano Tanya Harris as the Male and Female Chorus possessed rich, powerful and eloquent voices, able to sing the quietest pianisimmos and the loudest fortes which left people on the edge of their seats.
Chinese-born mezzo soprano Junyue Gong as Bianca was radiant, strong and silky, particularly in the spinning wheel trio in Act 1. Soprano Holly Thomas (@hollyrenee.soprano) possesses a christaline, ringing voice full of beauty, grace and charm which made her the perfect choice for the role of Lucia. Bass Cole Stephenson as Collatinus and baritone John Potvin as Junius were equally intense, subtle and charismatic both in stage presence and their vocal timbres.
I am hopeful that more schools in the U.S. like CCM will take a cue from this production and program more Britten operas in the near future, as they are great opportunities to demonstrate rising young talents and emphasize the importance of Britten’s music in today’s repertoire.