Word: cenci
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FRANCISCO CENCI (a sixteenth centaurs Roman nobleman who arranged the death of two of his sons and raped his daughter has intrigued a safety of authors including Stendahl. Shelley, and in this century. Antonin Artaud Beatrice, his daughter, added by her step-mother Lucretia and her remaining brothers, avenged the Counts crimes by hiring two assassins who killed him driving nails through his eye and throat. The plot was soon discovered and Lucretia. Beatrice, and her brother Giacomo were beheaded after Pops Clement VII deed their-piers for pardon...
Seth Riemer misinterprets his part as Giacomo, the family coward the only Cenci who would cringe at the thought of committing a murder. Riemer tries to convey this with an effect accent that seems anachronistic...
...Rudel boasts this "our repertory is about as safe as a British soldier in Northern Ireland." Presumably, he will bring his sense of theater and his fondness for growth and risk to his tasks at Kennedy Center. His first two productions in Washington were Ginastera's strident Beatrix Cenci (TIME, Sept. 20) and Handel's rarely performed Ariodante. Though he hopes to invite La Scala, the Vienna Staatsoper and Britain's Royal Opera to Washington, he wants "nothing to do with a glorified booking house." Included in his future plans for the center are a series...
...more ways than acoustics, Beatrix Cenci was a remarkable climax to a successful inaugural week. When it comes to piling horror on horror, Ginastera outclasses anyone now writing for the operatic stage. Beatrix Cenci can best be described as Renaissance Gothic. Based partly on history, partly on the Shelley tragedy, it tells how a young Roman noblewoman (Soprano Arlene Saunders) is seduced by her choleric, morally corrupt father. Count Francesco Cenci (Bass-Baritone Justino Díaz), then revenges herself by arranging his murder. In the end, she is found out, tortured on the rack, beheaded. Not a libretto...
Vacant Eyeballs. The composer's champion in the U.S. is Julius Rudel, who has conducted both Rodrigo and Bomarzo as director of the New York City Opera. Now music director of the Kennedy Center as well, he conducted the Cenci, and was uncommonly adroit in defining the multiple layers of orchestral sound with which Ginastera's score seeks to suggest, say, the schizophrenic, as he explores the passions and fears of one of his characters. But that was nothing compared with the multiple-screen images-slides and film of doomed faces, vacant eyeballs, writhing bodies, running women-that...