| Lessons in Love and Violence | |
|---|---|
| Opera byGeorge Benjamin | |
| Librettist | Martin Crimp |
| Language | English |
| Based on | life ofKing Edward II |
| Premiere | |
Lessons in Love and Violence is anopera with music byGeorge Benjamin andlibretto byMartin Crimp. The opera, which is based on the life ofKing Edward II, was premiered at theRoyal Opera House London on 10 May 2018, conducted by the composer and directed byKatie Mitchell. The opera was aco-production withDutch National Opera,Hamburg State Opera,Opéra de Lyon,Lyric Opera of Chicago,Gran Teatre del Liceu, Barcelona, andTeatro Real, Madrid.[1]
The opera covers the events set out inChristopher Marlowe's playEdward II, which combines the story of Edward and Gaveston (who was murdered in 1312), with the deposition of Edward II byMortimer (1327) and the overthrow of Mortimer and Edward's queenIsabella of France by Edward III (1330).[2]
The opera is in two parts, of four and three scenes respectively, and is performed without a break.[3] King Edward is not referred to by name, only as 'the King'. Similarly his wife Queen Isabella is referred to simply as Isabel, and his son, laterEdward III, is listed as 'Boy, later Young King'. Both Gaveston and Edward's nemesis Mortimer are named.
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| Role | Voice type | Premiere cast, 10 May 2018[1] (Conductor: George Benjamin) |
|---|---|---|
| King | baritone | Stéphane Degout |
| Isabel | soprano | Barbara Hannigan |
| Gaveston / Stranger | baritone | Gyula Orendt |
| Mortimer | tenor | Peter Hoare |
| Boy / Young King | tenor | Samuel Boden |
| Girl | silent | Ocean Barrington-Cook |
| Witness 1 / Singer 1 / Woman 1 | soprano | Jennifer France |
| Witness 2 / Singer 2 / Woman 2 | mezzo-soprano | Krisztina Szabó |
| Witness 3 / Madman | bass-baritone | Andri Björn Róbertsson |
Scene 1. Mortimer criticizes the King's obsession with his lover, Gaveston, at a time when his people are suffering from war and starvation. The King strips Mortimer of his wealth and lands.
Scene 2. Mortimer impresses on Isabel the King's dereliction of his duties by confronting her with representatives of the suffering people. She agrees to support Mortimer's campaign against Gaveston.
Scene 3. Gaveston is arrested during an entertainment at the King's residence.
Scene 4. The King rejects Isabel when he hears of Gaveston's death.
Scene 1. Isabel is now living with Mortimer. They instruct the King's son to assert his royalty by presenting him with a madman who believes that he himself is the true King.
Scene 2. The King is in prison. Mortimer persuades him to abdicate. Death, in the guise of Gaveston, claims the King.
Scene 3. The King's son, having succeeded to the throne, rejects Isabel and arranges the death of Mortimer.
The opera received a positive reception in the British press, with some reservations. The review inThe Guardian commented: "[D]espite the care that has so clearly gone into every aspect of the production, it often seems to be the orchestral music that is really in charge of the drama, as if the usual priorities of opera have been reversed. In the end the terrible story becomes the excuse for some striking music rather than being driven along by it."[4] The critic in theDaily Telegraph commented that he "left Covent Garden impressed rather than excited or moved. For all the refinements, Benjamin and Crimp haven’t moved on fromWritten on Skin [their previous opera] so much as shuffled the cards to play the same game."[5]The Stage however praised the opera: "George Benjamin’s new work on the subject of Edward II once again shows his operatic mastery."[6]
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