BENJAMIN BRITTEN
– ERIC CROZIER – ALBERT HERRING – LIBRETTO – 1947
Just out of World War Two, let us
sing the greatness of Great
Britain and the still in existence Empire.
The greatness and also the naïve innocence of the old Celtic traditions of the
Maypole, May Day and of course May Queen. But today it is difficult to find a
pure, innocent, virginal female teenager who could qualify for such a rite,
such a choice, such a symbolic designation. So the poor villagers and their
local noble lady are obliged to change their target and aim at a May King. And
sure enough there is one who qualifies, though we do not know why that actually
happened.
This Albert Herring, with no
father any more and only a possessive control freak mother is the next
greengrocer of the village when his mother decides to retire. More than a
simpleton, since he knows how to count and he’d better do so since everyone is
trying to cheat him out of what they owe him, he is nicely autistic more than
anything else: he has difficulties establishing a relation with any third
person apart from himself and his mother. He is shy they say. He is hard
working and one-pointed but he does not have any vision of the future: He lacks
ambition – maybe – they say. And he does not know at all what is beyond the
narrow pale of his mother: he has never had any alcohol since his mother is a
teetotaler. He has never gone out to a pub or anywhere else since he works for
his mother from sunrise to beyond sunset. He has never approached or been
approached by a girl or woman since he is the untouchable of his mother.
And the opera turns to his
disadvantage and to our merry pleasure since he is a fool in the first act, a
fair idiot in the second act and then he disappears to come back a transformed
person who has discovered there are many other things in life beyond his mother
and her narrow-minded vision of her living death and her cane if not cudgel
imposed authority. Good riddance and welcome home, finally home, your home, the
way you make it and not the way your widowed mother wants to impose it.
The text is light and
light-hearted, and yet it makes fun of British fundamentalism based on “no
alcohol, we are teetotalers” and “no **fleshy contact**,
we are British” and “no free thinking or atheistic illusions, we are Anglicans.”
How could that fundamentalism survive in Great Britain so long with pub
opening hours reduced to nearly nothing up to the 1980s when they were finally slightly
extended and liberalized though they will be really free only in the 21sy
century.
What is amazing is that two of the
basic themes of Benjamin Britten’s operas are already all contained in this
early one. Albert Herring is a stranger in his own village, kept apart, on the
side and the target of jokes, tricks, and other pranks, like making him drink
rum laced in his lemonade, or stealing his apples, or getting herbs for free by
just forgetting to pay before leaving. He is also a stranger to his mother
because she does not know he is a man and she treats him as if he were a pet, a
working pet mind you, hence a domestic animal like an ox, and he is as strong
as one if not two.
The second theme is of course the
denunciation of ethical, religious, moral fundamentalism and particularly the
way some women who think they are the mothers of society like Lady Billows, not
one billow but several large
undulating mass of something, typically cloud, smoke, or steam, or maybe a vast
inflated balloon billowing in the hot air of her moralistic discourse, fanned
like a moralistic fire by the local Mayor, the local Vicar and the local
Superintendent, or is it only a simple Constable? Three men aided by a fourth
female character, the local teacher, Miss Wordsworth who is worth what words
are worth, not much indeed since they only exist in dictionaries. And of course
a real mother, the possessive control freak that she is, is seen as stifling,
choking and smothering her own son into asocial suffocation with only one
intention: to make him a money-earner for the family, that is to say for
herself.
These two themes are extremely present in many operas with
one absent here: the killing or abducting father figure, the third side of the
trinity Benjamin Britten used so much all the time along with pentacles and
pentads like the five selectors of the new May King: Lady Billows, Mr. Gedge
the Vicar, Superintendent Budd, Mr. Upfold the Mayor and Miss Wordsworth the
Head Teacher, clearly opposed to the three people around Albert, Sid, Nancy and
Mrs. Herring, and the three kids from the village, Emmie, Cis and Harry. And if
you add Florence Pike, the Housekeeper of the Lady, you reach thirteen fateful
blind deaf and not dumb at all, meaning mute, though quite dumb meaning
besotted characters. And their names are just a bunch of funny puns.
BENJAMIN
BRITTEN – THE RAPE OF UCRETIA – 1946
This is a war
story that defies and defiles love. We must keep in mind we are just after the
Second World War, just out of it, and the steady reference to Jesus Christ, to
the Cross, to his death to save us makes the story of Lucretia a real
annunciation that man’s curse cannot be redeemed. Jesus is compensation and not
possible change. It is salvation that has to be brought back over and over
again since man will always commit sins, a redemption that can only come after
the crime. This somber Christian parabolic lesson is present from beginning to
end and animates the whole tale.
The story is a
simple as simple can be. Two generals, Junius and Collatinus, and one Prince,
Tarquinius, are at war against the Greeks somewhere and they boast, some
evening in camp when drinking and waiting for a battle to come some day, about
women and how the wives of many generals were found unfaithful when checked
upon, except Lucretia, Collatinus’ wife. According to Tarquinius women are the
only end in life for him and for both Junius and Tarquinius all women are by
nature unchaste. Tarquinius though boasts he can prove Lucretia is chaste and
Junius dares him on that objective, both meaning Lucretia will be taken, for
Junius because that’s the nature of all women and for Tarquinius because he is
a hypocrite when asserting Lucretia is chaste: his objective is to take her.
Sure enough Tarquinius takes a horse, gallops to Rome, visits late at night Lucretia’s home
and spends the night there. During the night he takes Lucretia and rides her
just the same utilitarian n way
as a horse, and then he goes back to his horse and gallops back to camp before
daybreak. Strangely enough Junius tells Collatinus he has to check upon
Lucretia because he had heard a horse galloping away on the previous night and
galloping back in very early in the morning. When Collatinus arrives at
Lucretia’s home, it is too late and Lucretia kills herself in front of her
husband out of shame.
But the
libretto’s author and Benjamin Britten turn this simple and sad story into a
remarkably meaningful tale about man and his fate, consequently about woman and
her fate.
First the
story is built on two groups of people. On one hand three men, two generals and
one prince. Note the three men are connected by their military service. On the
other hand three women, Lucretia, her nurse Bianca and her maid Lucia. Note the
three women are connected to light and purity by their names. Lucia is a name
derived from “lux” meaning light. Bianca is a name derived from “bianco”
meaning white, and Lucretia often associated to the Latin word “lucrum” meaning
profit is parallel to Lucia and hence the old Celtic god of light, Lugh, Lug or
Lu’ch seems more pregnant to qualify the lady. Note though this very same
Celtic root, which is also an Indo-European root, the same as in the Latin word
“lux” is also behind Lucifer. Lucretia thus and her two servants create an
environment of light that is also ambiguous in some ways with connection to “lucrum”
(profit), to “Lucifer” (the light-resplendent side of Satan), and also to lust
and an old Germanic root meaning desire. In this triad of women we have some
ambiguous meaning that makes them in a way the victims of a curse: the curse of
being light as well as desire, purity as well as profit.
On the other
hand the triad of men are just military people by profession or by birth and
their superiority as men is their absolute dimension as individuals who just
take what they can take for the sole reason they can take it, and that applies
to women for two of them, though the third one remains silent on the subject
more than non-committed: he is married, his wife is faithful and he is faithful
to his wife.
These two
triads are opposed in directions, one looking to the other, one penetrating the
other and the other receiving the first one. That is the famous star of David
and thus a Jewish symbol that was anachronistic in Lucretia’s time in ancient Rome, but is pregnant in
modern times in 1946.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 6:20 AM