Will Kerley's production at Castleton of Britten's first chamber opera, The Rape of Lucretia (premiered by the English Opera Group at Glyndebourne in July 1946) reveals with shattering effect the power of this piece to move, in spite of some its apparent old fashionedness and religiosity. The direct and sometimes terrifying impact of the performance yesterday evening was attributable to many accomplished performances, none more so than those of the two remarkable young baritones, Matthew Worth and Paul LaRosa as Tarquinius and Junius. But the cast was fine throughout (Tamara Mumford a handsome and sensuous Lucretia) and in the pit Maazel reigned supreme with his fine band of soloists from the Qatar Symphony - in Castleton for the duration.
Kerley's detailed production, on a set by the gifted Nicholas Vaughan which created a remarkable playing space on the tiny Castleton stage, was a model of creative minimalism. Kerley is the man for the age - doing what he did was already a great achievement - and on no money? Yes, we love him!!
I am returning to Chicago this morning.
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