A recent production by the Sydney Chamber Opera and the Tasmanian Symphony Orchestra was plagued by walkouts and heated debates in the foyer. “See how my wanton blood washes my shame away,” she sings.Īll in all, it’s not the most promising premise for a feminist opera production, and revivals have struggled to reconcile Lucretia’s politics with modern sensibilities. Lucretia reasons that her honour is beyond repair and the only course of action is suicide. When the household is fast asleep, he creeps into her bedroom and rapes her. Looking to test Lucretia’s virtue, the tyrannical prince of Rome Tarquinius rides to her house in the dead of night and demands her hospitality. Director Julia Burbach promises to reimagine Lucretia for the Me Too era, yet quite how she would pull this off was puzzling some audience members in the Arcola bar before the show.Īdapted from Shakespeare’s repugnantly misogynistic narrative poem, Britten’s repugnantly misogynistic 1946 opera tells the story of Lucretia, the chaste wife of Roman general Collatinus. The opera is headlining the theatre’s annual Grimeborn festival alongside a 30 th anniversary production of Mark Anthony-Turnage and Jonathon Moore’s Greek. All women are whores by nature,” growls Roman soldier Junius (James Corrigan) in the Arcola’s revival of Benjamin Britten’s early opera The Rape of Lucretia. “Virtue in women is a lack of opportunity.
#Collatinus rape of lucretia skin
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