The Rape of Lucretia and Les Vepres Siciliennes: Excess and elegance at the opera

Neither Verdi’s <em>Les Vêpres Siciliennes</em> nor Britten’s <em>The Rape of Lucretia</em> are straightforward.

The Rape of Lucretia/Les Vêpres Siciliennes
Glyndebourne/Royal Opera House

Culture loves a problem child, and no genre more than opera. Unfinished works, dramatically flawed works, just plain weird ones – we love them all – and opera houses across the world have spent centuries refusing to give up on some particularly challenging cases. While not the most hardened offenders, neither Verdi’s Les Vêpres Siciliennes nor Britten’s The Rape of Lucretia are straightforward. Each has issues for directors to wrestle, and this month two high-profile new productions have opened, both hoping to rehabilitate their charges once and for all.

Of the two, Les Vêpres is the less yielding. For a start it’s enormous. The original score includes a 40-minute ballet in the middle, and all other aspects of this grand opera balance up to that insertion. Hoping to beat the French at their own operatic game, Verdi (already the successful composer of Rigoletto and La traviata) threw all he had at this obscure tale of a 13th-century Sicilian rebellion against the French.

It’s hard not to draw parallels between an Italian opera composer wrestling back grand opera from its French masters and Sicilians attempting to reclaim their homeland, and this becomes the basis for Norwegian director Stefan Herheim’s production that relocates the action to the Paris Opéra, where Les Vêpres was premiered. It’s an excuse for magnificent meta-theatrical gestures as the Royal Opera House audience gazes back at itself onstage, with lashings of chorus girls, Sicilian peasants and French army officers to fill any dramatic longeurs in Verdi’s uneven score.

Excess – generous, riotous, overwhelming – is something of Herheim hallmark, and it seems churlish to probe the motivations of a production so literal, so Verdi-esque about its smoke and mirrors (not to mention so propulsively driven from Pappano’s pit). But try as I might to line up concepts and emotions I couldn’t quite manage it. Was the extended opening rape scene a back-story to explain the vengeful urges of Erwin Schrott’s Procida (a ballet-master, helpless to protect his dancers from French troops)? What was the cherubic executioner doing in Act IV?  And why the cross-dressing finale?

Let go of these details however, and you have a spectacle of serious heft. The largest chorus of the season hurls sound to the back of the amphitheatre and Pappano’s orchestra glows and burns with the ardour of a hundred revolutionaries. Lianna Haroutounian returns after her excellent Elisabetta in Don Carlo) as Helene, richly characterful in tone but struggling on opening night with her showpiece “Merci, jeunes amies” with its fearsome coloratura. Schrott’s Procida schemes and broods, while Michael Volle’s estranged father is supremely tender. Henri – torn between father and comrades – resonates brightly, but struggles dramatically against a straitjacket of a libretto.

Ronald Duncan’s libretto for Lucretia is traditionally named as one of the opera’s big issues. Wordy, certainly, but also spotlight-specific in its images and musical moulding of language, I’ve never seen the problem. In Fiona Shaw’s World War II-framed production any self-consciously literate modernist tendencies become neutralised, dissolved into the dramatic texture of the whole. Shaw deftly integrates Britten’s Male and Female Chorus into the action they cannot control – unwitting archeologists, tracing paths across the trenches and foundations of Lucretia’s house. Physically united in the quasi-Brechtian space, the temporal and dramatic separations of the narrators hits harder than often with this opera.

This is partly owing to Allan Clayton’s astonishing Male Chorus (none of Bostridge’s eerie, otherworldliness here, but a humanity that outstrips it easily for pathos) and Kate Valentine’s Female Chorus – all warmth and fleshy instinct. They lead a mixed cast encompassing David Soar’s Collatinus (almost too beautifully sung to chime with Britten’s ambivalent portrayal) and a ringing Lucia from Ellie Laugharne, to a disappointing woolly Junius from Oliver Dunn. Though competently sung, both Duncan Rock’s Tarquinius and Claudia Huckle’s Lucretia (impossibly moving, but vocally under-projected at times) exposed a lack of clarity at the core of Shaw’s reading. Is this Shakespeare’s Lucrece or Britten’s Lucretia? We often seemed caught uneasily between the two.

The rape scene itself felt fragmented and non-committal, uncertain where to place physical or emotional emphasis. Visually set apart from the rest of the action, which enjoys the euphemising protection of darkness, it claims certainty at precisely the moment that Duncan’s libretto courts ambivalence. Shaw’s shadowy visuals and covered spaces – graves, tents, beds – generate a lively friction with the pitiless clarity of text and music. What a shame though that Nicholas Collon’s direction lacked the blade-edge crispness that Britten’s orchestration can and should have. In the delicate balance of a production caught between dark and light, certainty and doubt, it tipped them just the wrong way.

And what of the opera’s afterthought of a Christian metaphor, the Christ-figure unearthed in the closing moments of Shaw’s excavation? Unsatisfying. But this in exactly the way it should be, the way Britten’s score and operatic structure require it to be. We close still questioning, still railing against the senselessness of it all, the inadequacy of an explicating morality. Shaw’s  production sheds light by retaining the opera’s darker corners. As solutions go, it’s elegant indeed.

Lianna Haroutounian as Helene in Les Vêpres Siciliennes at the Royal Opera House. Photo: Alastair Muir
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Broken and The Trial: From Sean Bean playing a priest to real life lawyers

A surprisingly involving depiction of a clergyman provides the saintly contrast to the sinner being judged by a real jury.

I was all set to scoff at Broken, Jimmy McGovern’s new series for BBC1 (30 May, 9pm). A drama about a Catholic priest and his impoverished parish in a “major northern city”, it sounded so hilariously McGovern-by-numbers (“Eh, lad, give us the collection bowl – the leccy wants paying”) that on paper it could pass for a spoof. Even funnier, Sean Bean, late of Game of Thrones, was to play the clergyman in question.

Naturally, I adore Bean, who comes from the major northern city that is Sheffield, as I do, and who is so terribly . . . virile (though when I interviewed him in a car park behind King’s Cross Station a few years ago, and a security guard in a high-vis jacket approached us furiously shouting the odds, he ran and hid in his trailer, leaving yours truly to face the music). But let’s face it: he’s not exactly versatile, is he? The idea of him in a cassock, or even just a mud-coloured cardigan, made me laugh out loud.

Settling down to watch the series, however, I soon realised that no scoffing would be taking place. For one thing, Broken is hugely involving, its Dickensian plot (no spoilers here) as plausible as it is macabre. For another, in the present circumstances, its script seems to be rather daring. Not only is Father Michael Kerrigan shown – cover my eyes with the collected works of Richard Dawkins! – to be a good and conscientious priest, but his faith is depicted as a fine and useful thing. If he brings his besieged parishioners solace, he is sure to be carrying vouchers for the food bank as well.

The flashbacks from which he suffers – in which his mammy can be heard calling him a “dirty, filthy beast” and a spiteful old priest is seen applying a cane to his hand – are undoubtedly clichéd. But they are also a device. Forty years on, he is happy to nurse his dying mother, and his love for God is undimmed: two facts that are not, of course, unrelated. How weirdly bold for a television series to set its face against the consensus that denigrates all things Christian as it never would any other faith.

I don’t for a minute buy Anna Friel as Christina, the gobby, broke single mother Kerrigan is determined to help. Even when covered in bruises – a bust-up at the betting shop – Friel manages to look glossy, and she never, ever quits acting (with a capital A), which is a drag. But Bean is such a revelation, I was able to ignore the voice in my head which kept insisting that a Catholic priest as young as he is – in this realm, “young” is a couple of years shy of 60 – would surely be Polish or African (I’m not a Catholic but I am married to one, for which reason I occasionally go to Mass).

He plays Kerrigan, whose overwhelming desire to be kind sometimes makes him cack-handed, with great gentleness, but also with an uninflected ordinariness that is completely convincing. Part of the problem (my problem, at least) with Communion is the lack of rhetorical passion in most priests’ voices, something he captures perfectly. One other thing: Line of Duty fans need to know that Adrian Dunbar – aka Ted Hastings – can also be seen here wearing a dog collar, and that he looks almost as good in it as he does in police uniform.

On Channel 4 The Trial: A Murder in the Family was an experiment in the shape of a murder trial in which the defendant – a university lecturer accused of strangling his estranged wife – and all the witnesses were actors but the lawyers and “jury” were real. Over five consecutive nights (21-25 May, 9pm), I found it pretty tiresome listening to jury members tell the camera what they made of this or that bit of evidence.

Get on with it, I thought, longing again for the return of Peter Moffat’s Silk. But I adored the lawyers, particularly the lead ­defence barrister, John Ryder, QC. What an actor. Sentences left his mouth fully formed, as smooth as they were savage, his charm only just veiling his mighty ruthlessness. Drooling at this performance – which was not, in one sense, a performance at all – I found myself thinking that if more priests came over like barristers, our dying churches might be standing room only.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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