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FEAR AND VENGEANCE, sexual transgression and mental torture: that's what it's all about. Set in the deceptively innocent confines of a remote country house, this year's Lowell House Opera. The Turn of the Screw, quickly disintegrates into a horribly perverted fairy tale. The opera is an adaptation of Henry James' story, with the libretto by Myfanwy Piper and the bewitchingly eerie music by Benjamin Britten...
Emphasizing the sense of veiled cruelty that is ever-present in the story of The Turn of the Screw, the lighting effects are spectacular. Nothing is presented in the clear light of day, but rather in a dim and slightly mottled gloom, punctuated occasionally by the lurid light of a blood-red sky. Furtive figures frantically seek to escape this depressing darkness, a darkness that almost becomes a metaphor for Quint's malevolence. Clever special effects make the two ghosts seem especially spectral. While the evil former man-servant appears and vanishes high at the top of the tower. Miss...
...Turn of the Screw is refreshingly simple and understated. It is an abstraction rather than an embellishment of the original tale This comparative starkness, us concentrate not on the twisting and turning the plot, but rather on the theme of the diabolical dimensions of evil. The ambiguous question remains whether the ghosts did physically return to harass the governess and her charges or whether they were a sort of mental residue that had not yet been erased from the minds of these abused children. The story never resolves this point, only concluding with the pessimistic realization that the good...
...Turn of the Screw," which was last performed at Harvard in 1966, concerns a governess in an English country house who tries to save the boy and girl the cares for, who are haunted by the ghosts of a previous housekeeper and serve of For example, the young boy's homosexuality--which is caused by the ghost of a former servant--forces him to leave boarding school...
Music for "The Turn of the Screw" is extreme difficult, the opera's participants say. "The music is not as accessible to the audience as other operas making it slightly dissonant to the audience and harder for the stagers to perform," says Hellmold. "The composer has, the singers in mind, however making, for example, the cues for the part of the 11-year-old boy easier to pick...