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This opera must have been to some extent a conjunction of the congenial and the convenient. The play, too, seems apt for this treatment. André Obey’s Le Viol de Lucrèce has in its two Narrators, who comment on and at times describe the action, an extra layer of theatrical manner that is useful in transforming a story into an opera. And chamber opera can employ the extra formality of some sort of framing device with advantage. Albert Herring has its expository first scene, The Turn of the Screw, a prologue, and the parables Curlew River and The Burning Fiery Furnace have the most elaborate framing of all, in the processions involving not only the singers but the orchestra, too— the participation in the visual drama of the instrumentalists is a development of the exposition of their personalities in the earlier chamber operas, Lucretia in particular.

And the scene ends with the third transformation of Ex. 14: See how the rampant centaur mounts the sky, And serves the sun, with all its seeds of stars, Now the great river underneath the ground, Flows through Lucretia, and Tarquinius is drowned. The reason for Lucretia’s submission is explicit in Obey and Shakespeare— Tarquinius threatened to kill Lucretia and “ some rascal groom” and pretend to Collatinus that he had killed Lucretia in her slave’s embrace. This point is not made in the opera, unless we are meant to read it into Tarquinius’s gesture with the sword.

Only in terms of his musical character can we answer unequivocally yes— in terms of the sequence of numbers, “ It seems as clear as clear can be” (Ex. 21), “ The tide will turn, the sun will set” (Ex. 24) and “ And I’m more 52 THE OPERAS OF BENJAMI N B R I T T E N than grateful to you all” (Ex. 26). In this last confident, capable passage Albert has achieved self-possession— literally, he now “ possesses” himself. But how this resulted from the events of the previous night it is difficult to guess.

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An Introduction to the LAPLACE TRANSFORMATION With Engineering Applications by J. C. Jaeger


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