Marks of Genius

New Zealand Listener, Volume 19, Issue 476, 6 August 1948, Page 9

Marks of Genius

UNEDIN listéners were fortunate in that 4YA was chosen for the initial presentation of The Rape of Lucretia by Benjamin Britten, Listeners are familiar’ with this composer’s unique style through the radio presentation of most of his orchestral and vocal works, and those who know, for instance, the "Serenade," will recognise a known idiom in Lucretia. Nevertheless, prepared though the musical listener may be for the impact of a new work, this opera from its very beginning bursts ‘upon the ear with terrific vitality and force, and the unexpected vigour of a quite indescribable style in the handling of words and music. The recitatives are the most turbulent and amazing stuff when Britten deals with passionate emotion, yet nothing could be nobler, more solemn or impressive, than the same type of recitative when used for reflective philosophising. However, perhaps the word recitative is not quite the mot juste-it has been used too often in the past to describe passages compared with which Britten’s use of a similar method is like the glitter of a star to a candle-flame. When he wishes, he gives us passages of the most beautiful and sustained melody, and the concerted music for the women has an atmosphere of ethereal loveliness. May I add that the scene in Lucretia’s bed-° chamber is‘ quite the most stark lovescene ever set to music, and that it makes the lovesick outpourings of the average operatic Don Juan pale to a sickly nonentity; yet this scene, as most of the others, manages its tumultuous effect by the use of only two voices. The whole opera is a magnificent revelation of what can be done with the slenderest resources, provided the composer is by way of being a genius,