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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Why a Keeping Up with the Kardashians cartoon would make genuinely brilliant TV

The Kardashians are their own greatest satirists.

You’ve seen Keeping Up with the Kardashians, Kourtney and Kim Take Kyoto, and Kylie and Kendall Klarify Kommunications Kontracts, but the latest Kardashian show might take a step away from reality. Yes, Kartoon Kardashians could be on the way. According to TMZ, an animated cartoon is the next Kardashian television property we can expect: the gossip website reports that Kris Jenner saw Harvey Weinstein’s L.A. production company earlier this month for a pitch meeting.

It’s easy to imagine the dramas the animated counterparts of the Kardashians might have: arguments over who gets the last clear plastic salad bowl? Moral dilemmas over whether or not to wear something other than Balenciaga to a high profile fashion event? Outrage over the perceived betrayals committed by their artisanal baker?

If this gives you déjà vu, it might be because of a video that went viral over a year ago made using The Sims: a blisteringly accurate parody of Keeping Up with the Kardashians that sees the three sisters have a melodramatic argument about soda.

It’s hysterical because it clings onto the characteristics of the show: scenes opening with utter banalities, sudden dramatic music coinciding with close-ups of each family member’s expressions, a bizarre number of shots of people who aren’t speaking, present tense confessionals, Kim’s ability to do an emotional 0-60, and Kourtney’s monotonous delivery.

But if the Kardashians, both as a reality TV show and celebrity figures, are ripe for ridicule, no one is more aware of it than the family themselves. They’ve shared teasing memes and posted their own self-referential jokes on their social channels, while Kim’s Kimoji app turned mocking viral pictures into self-depreciating in-jokes for her fans. And the show itself has a level of self-awareness often misinterpreted as earnestness - how else could this moment of pure cinema have made it to screen?

The Kardashians are their own greatest satirists, and they’ve perfected the art of making fun of themselves before anyone else can. So there’s a good chance that this new cartoon won’t be a million miles away from “Soda Drama”. It might even be brilliant.

Anna Leszkiewicz is a pop culture writer at the New Statesman.