The Rape of Lucretia

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The Rape of Lucretia

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dc.contributor.other Benjamin Britten es
dc.contributor.other Jean Rigby es
dc.contributor.other Donald Maxwell es
dc.contributor.other Alan Opie es
dc.contributor.other Catherine Pierard es
dc.contributor.other Patricia Rozario es
dc.contributor.other Ameral Gunson es
dc.contributor.other Nigel Robson es
dc.contributor.other Alastair Miles es
dc.contributor.other City of London Sinfonia es
dc.contributor.other Richard Hickox es
dc.coverage.spatial London, England es
dc.date.accessioned 2013-08-29T16:10:02Z
dc.date.available 1994
dc.date.available 2013-08-29T16:10:02Z
dc.date.copyright 1994
dc.date.issued 2013-08-29
dc.identifier.uri http://hdl.handle.net/123456789/3703
dc.description.abstract With the arrival of Benjamin Britten on the international music scene, many felt that English music gained its greatest genius since Purcell. A composer of wide-ranging talents, Britten found in the human voice an especial source of inspiration, an affinity that resulted in a remarkable body of work, ranging from operas like Peter Grimes (1944-1945) and Death in Venice (1973) to song cycles like the Serenade for tenor, horn, and strings (1943) to the massive choral work War Requiem (1961). He also produced much music for orchestra and chamber ensembles, including symphonies, concerti, and chamber and solo works. Britten's father was a prosperous oral surgeon in the town of Lowestoft, Suffolk; his mother was a leader in the local choral society. When Benjamin's musical aptitude became evident, the family engaged composer Frank Bridge to supervise his musical education. Bridge's tutelage was one of the formative and lasting influences on Britten's compositional development; Britten eventually paid tribute to his teacher in his Op. 10, the Variations on a Theme by Frank Bridge (1937). Britten's formal training also included studies at the Royal College of Music (1930-1933). Upon graduation from the RCM, Britten obtained a position scoring documentaries (on prosaic themes like "Sorting Office") for the Royal Post Office film unit. Working on a tight budget, he learned how to extract the maximum variety of color and musical effectiveness from the smallest combinations of instruments, producing dozens of such scores from 1935 to 1938. He rapidly emerged as the most promising British composer of his generation and entered into collaborative relationships that exerted a profound influence upon his creative life. Among the most important of his professional associates were literary figures like W.H. Auden, and later, E.M. Forster. None, however, played as central a role in Britten's life as the tenor Peter Pears, who was Britten's closest intimate, both personally and professionally, from the late '30s to the composer's death. Pears' voice inspired a number of Britten's vocal cycles and opera roles, and the two often joined forces in song recitals and, from 1948, in the organization and administration of the Aldeburgh Festival. A steadfast pacifist, Britten left England in 1939 as war loomed over Europe. He spent four years in the United States and Canada, his compositional pace barely slackening, as evidenced by the production of works like the Sinfonia da Requiem (1940), the song cycle Seven Sonnets of Michelangelo (1940), and his first effort for the stage, Paul Bunyan (1940-1941). Eventually, the poetry of George Crabbe drew Britten back to England. With a Koussevitzky Commission backing him, the composer wrote the enormously successful opera Peter Grimes (1944-45), which marked the greatest turning point in his career. His fame secure, Britten over the next several decades wrote a dozen more operas, several of which—Albert Herring (1947), Billy Budd (1951), The Turn of the Screw (1954), A Midsummer Night's Dream (1960), Death in Venice (1973)—became instant and permanent fixtures of the repertoire. He also continued to produce much vocal, orchestral, and chamber music, including Songs and Proverbs of William Blake (1965), the three Cello Suites (1961-1964) and the Cello Symphony (1963), written for Mstislav Rostropovich, and the Third String Quartet (1975). Britten suffered a stroke during heart surgery in 1971, which resulted in something of a slowdown in his creative activities. Nonetheless, he continued to compose until his death in 1976, by which time he was recognized as one of the principal musical figures of the twentieth century. © Michael Rodman, All Music Guide es
dc.description.tableofcontents CD1-- Act One ; Scene One ‘The Generals tent in the camp outside Rome’ : Male Chorus ‘Rome is now ruled by the Etruscan upstart…, Male Chorus ‘Here the thirsty ev’ening has drunk the wine of light…, Collatinus ‘Who reaches heaven first is the best philosopher…, Junius ‘Good night Tarquinius!, Interlude Male Chorus : ‘Tarquinius does not wait for his servant to wake, Scene Two ‘A toom in Lucretia’s house in Rome the same evening’ : Junius ‘Lucretia!’, Lucretia Listen! ‘I heard a knock Somebody is at the gate’…, Female Chorus ‘time turns upon the hands of women’…, Female Chorus ‘None of the women move It is too late for a messenger…-- CD2-- Act Two ; Scene One ‘Lucretia’s bedroom’ : Female Chorus ‘The porperity of the Etruscans was due to the richness…’, Female Chorus ‘She sleeps as a rose upon the night..’, Tarquinius ‘When Tarquinius desires then Tarquinius will dare…’, Tarquinius ‘Within this frail crucible of light…’, Tarquinius ‘Lucretia!’, Interlude Female & Male Chorus : ‘Herein this scene you see Virtue assailed by sin…’, Scene Two ‘A room in Lucretia’s house the next morning’ : Lucia ‘Oh what a lovely day…’, Bianca ‘Hush! Here she comes!’, Lucretia ‘Flowers bring to ev’ry year the same perfection…’, Collatinus ‘Lucretia! Lucretia! O never again must we two dare to part…’, Collatinus ‘This dead hand lets fall all that my heart held when full...’, Female Chorus ‘Is it all? Is all this suffering and pain is this in vain?...’-- es
dc.format.extent CD 1 (52:08 min) ; CD 2 (64:08 min) es
dc.format.medium 2 CD-Rom : Stereo ; 4 3/4 plg. es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 30790951 es
dc.subject.lcsh Operas es
dc.title The Rape of Lucretia es
dc.title.alternative The Rape of Lucretia Op. 37 es
dc.title.alternative The Rape of Lucretia Opera in Two Acts es
dc.title.alternative La Violación de Lucrecia Ópera en Dos Actos es
dc.language.rfc3066 eng es
dc.rights.holder Chandos Records Ltd. es
dc.identifier.classification 095115925423 es
dc.subject.cdu Bri.07 es


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