6/13/2023 0 Comments Collatinus art![]() The feminist scholar Linda Hults observes how "there is a mechanical quality to Lucretia's suicidal gesture it seems to operate apart from her facial expression, and it does not seem to require the assistance of her other arm, which is oddly placed behind her back. Art historian Fedja Anzelewsky described her as "a parody rather than an exaltation of the classical feminine figure." The painting has been described as one of Dürer's most unpopular works, with many art historians, including Max Friedländer and Erwin Panofsky, commenting unfavourably on apparent qualities such as "austerity and awkwardness". Critics have remarked unfavourably on her sour expression, unnaturally elongated and disproportional figure, and uncomfortable contrapposto pose. She is given a monumental and statuesque pose, but without the sense of pagan sensuality present in his 1507 Adam and Eve in the Prado, Madrid. Her expression, near identical to the 1508 drawing, is difficult to interpret, as it contains none of the passivity, chastity, or sly sidelong glances usually associated with contemporary depictions of her. Her face bears elements of idealisation, although for the most part she is presented as a real woman. With degrees from the Curtis Institute of Music and the University of Wisconsin – Eau Claire as well as affiliations with San Francisco Opera’s Adler Fellowship, Merola Opera Program, Wolf Trap Opera, Britten Pears Arts, and the George Solti Academy he has had the opportunity to work with world-class conductors, directors, stage managers, costume and makeup designers, teachers, coaches, and GRAMMY awarded symphonies and pianists.Lucretia, Lucas Cranach the Elder, 1525–30 (before 1537). A recipient of awards from the American Opera Society, National Society of Arts and Letters, and Shoshana Foundation, and with recognition from Opera News as “uncommonly articulate” with “…a great deal of tonal nuance” Reed is being recognized as a rising basso cantante. When her kinsmen, seeking vengeance, drove Tarquin from Rome, the Roman republic was founded. In the background of this woodcut, we see Collatinus with the king's son, who conceived a passion for Lucretia that led to her rape and subsequent suicide. In concert he has performed Haydn’s Creation, Mozart’s Requiem, and covered the notoriously challenging bass part in Beethoven’s Ninth Symphony. In addition he has been heard in multiple unique recitals on Chicago’s WFMT NPR station. Only the beautiful Lucretia, wife of Collatinus, was found virtuously engaged in needlework. ![]() His operatic repertory contains such roles as Sarastro / Die Zauberflöte, Don Basilio / Il barbiere di Siviglia, and Frère Laurent / Roméo et Juliette. Lucius Iunius Brutus (who on the spot swore an oath of revenge for Lucretia) and Lucius Tarquinius Collatinus used the tragedy as a catalyst for ridding Rome of their tyrannical king, at that time laying siege to Ardea, and thus set themselves up as Romes first consuls in 509 BCE. ![]() This Fall he will perform with the Collaborative Arts Institute of Chicago (CAIC) in recital, as well as in a coproduction of The Rape of Lucretia / Collatinus between Britten Pears Arts and the Royal Opera. During 2020/21 virtual programming he appeared with CAIC and with Lyric in Master Classes with Sir Andrew Davis, Sole e Amore, Magical Music Around the World , and Rising Stars in Concert. Highlights from his time there include mainstage appearances in Tosca / Sciarrone, Die Zauberflöte / Second Armored Guard, and Madama Butterfly / Comissioner among others. Bass Anthony Reed recently graduated from Lyric Opera of Chicago’s Ryan Opera Center Program.
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