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Thursday, May 19, 7 p.m. Cedar Rapids Museum of Art "We Stay Here and Die: Disease, Demography, and the Roman Way of Death" Glenn Storey, Assoc. Professor of Classics, University of Iowa

Saturday, July 2 A Family Fun Day "Make 'n' Take Children's Activities" 1 - 4:00 p.m. "What Iowans Were Doing When Rome Was Sacked" - a program by the Office of the State Archaeologist, 2 pm Cedar Rapids Museum of Art

Thursday, July 21, 7 p.m. "Gold Jewelry Techniques of the Etruscans and Ro- mans" Richard De Puma, F. Wendell Miller Distin- guished Professor, the Uni- versity of Iowa, and Senior Consulting Curator of "Art in Roman Life: Villa to Grave"

Britten’s Rape of Lucretia (cont.)

(Continued from page 2)

very strong, lead by Elisabeth Bieber as Lucretia and Mi- chael Krzankowski as Tar- quinius. At least some of the singers were miked, but this, and the fact that the libretto is in English still did not ensure we heard every word. The libretto is highly poetic, and the words are very important to the meaning of this opera: supertitles would have helped.

In the epilogue, the fe- male chorus asks, “Is it all? …Does this old world grow old in sin alone? Can we at- tain nothing but wider circles

of our own tears?” The male chorus seeks to reassure her: “For us did he live with such humility; for us did He die, that we might live, and He forgive wounds that we make, and scars that we are.” Does this softening the mes- sage of the story of Lucretia’s rape and suicide with an as- surance of forgiveness really do service to the call to action in the theater lobby? The director seems to have been concerned about that; the program notes qualified the Christian message, suggest- ing that “even as [the cho- ruses] leave, the question, ‘Is

it all?’ echoes to the end.” The female chorus member looked unconvinced by the male chorus’s reassurances. And the body of Lucretia was taken off stage, trailing be- hind a long shred of cloth that seemed to be an endlessly running stream of blood. But these seemed to me trying to make the opera say some- thing that it doesn’t really, and I had to wonder after all about the appropriateness of this opera as the companion for the Rape Victim Advo- cacy Program and its Clothesline Project.—Robert Ketterer, University of Iowa

Roman glass Goblet, 4th-5th century A.D., on loan to Art in Roman Life from the Toledo Museum of Art

Upcoming Lectures and Events at CRMA

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Last Chance to See Art in Roman Life

Volume 16, Issue 2

If you haven’t had a chance to see the Cedar Rap- ids Museum of Art’s unique exhibit, Art in Roman Life: Villa to Grave, or if you want to see it again, it’s not too late—yet. The exhibit, which showcases more than 200 objects from museums across the country, can still be seen until August 25.

What sets this exhibit apart from others is that the museum has recreated the rooms of a Roman villa so that museum-goers can view and appreciate these objects in their original context. Af- ter the exhibit closes, the

galleries housing Art in Ro- man Life will close until sometime in December 2005, while the museum returns the loans and reconfigures the new Roman gallery.

The Cedar Rapids Mu- seum of Art (CRMA) has made it easy to tour Art in Roman Life. A free, 70- minute audio tour is now available to guide visitors through the exhibition. Your guides are the scholars and curators who put together this spectacular exhibition. Jane Milosch, CRMA Curator of Collections, leads this tour along with Dr. Richard De

Puma, Senior Consulting Cu- rator for Art in Roman Life, Dr. David Caccioli, Assistant Consulting Curator, as well as CRMA Executive Director Terence Pitts. Together they provide fascinating insights about objects featured in the show while explaining cul- tural traditions of ancient Rome.

In addition, Museum Gate gift shop is making Art in Roman Life merchandise available at a discount. For more information, visit www.villatograve.org.

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