| Académie de l'Opéra national de Paris | ||
| Léo Warynski | Musikalische Leitung | |
| Jeanne Candel | Regie | |
| Lisa Navarro | Bühnenbild | |
| Pauline Kieffer | Kostüme | |
| César Godefroy | Licht | |
| Orchestre-Atelier OstinatO | ||
| Ensemble Multilatérale | ||
| Marie-Andrée Bouchard-Lesieur | Mezzosopran | Lucretia |
| Aaron Pendleton | Bass | Collatinus |
| Danylo Matviienko | Bariton | Junius |
| Alexander York | Bariton | Tarquinius |
| Cornelia Oncioiu | Mezzosopran | Bianca |
| Kseniia Proshina | Sopran | Lucia |
| Andrea Cueva Molnar | Sopran | Female Chorus |
| Tobias Westman | Tenor | Male Chorus |
Benjamin Britten composed The Rape of Lucretia in 1946 after a radio-drama by André Obey. Britten and his librettist, two convinced pacifists involved way before WWII, address a European society bruised by war and hate.
Running from the grand operatic machine, their inspiration drove them to a more intimate construction, the chamber opera. Britten wrote indeed for a small number of musicians and singers-actors in a musical and dramatic language where the narration exceeds the illusion on stage.
Britten chose the myth of the dedicated and suicidal wife and wrote a piece that interrogates desire in its relation with anxiety: mutual love, gulty will and frustration.
Britten makes us think about the violence in human relations, about sexuality and its dark zones. With Lucretia as heroin and victim, Britten makes us face the tragic human condition.
