A01=Wyndham Thomas
anchoritic spirituality
Ancrene Riwle
Author_Wyndham Thomas
British opera analysis
Cambridge University Musical Society
Category=AVA
Category=AVL
Category=AVLA
Category=AVLF
Chaucer's Prioress's Tale
Chaucer’s Prioress’s Tale
Christine Carpenter
Comparable Landmark
Curlew River
ecclesiastical authority
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eq_bestseller
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eq_music
eq_nobargain
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fourteenth century English monasticism
Henry III
Hymn Veni Creator Spiritus
Kyrie Eleison
libretto structure
Lucia Di Lammermoor
Marie's Cradle Song
Marie’s Cradle Song
Medieval Liturgical Dramas
medieval religious history
Nunc Dimittis
Operatic Context
Passacaglia Theme
Peasants' Revolt context
Performance and Reception
Queen Elizabeth Hall
Quem Queritis
Schola Cantorum
Stage Design Model
Te Lucis Ante Terminum
Towards the Opera
Veni Creator Spiritus
Victimae Paschali Laudes
Visitatio Sepulchri
Wandering Jew
Wesker's Play
Wesker’s Play
Young Men
Product details
- ISBN 9781138109100
- Weight: 370g
- Dimensions: 152 x 229mm
- Publication Date: 22 May 2017
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Caritas relates the 'true', yet largely undocumented story of Christine Carpenter, a 14th-century anchoress who moves towards insanity as her desire for a divine revelation continues to be unfulfilled after a period of three years locked in her cell. Although physically isolated, she is aware of the worldly life and love that she has abandoned. The very essence of the drama is the dogmatic refusal of her Bishop to release her from her vows. Set against the backcloth of the Peasants' Uprising (1381), the libretto/play juxtaposes sacred and secular worlds, the relative power and servitude of rulers and serfs, and the terrifying ordeal of Christine who is caught between the inflexibility of the established church and her personal religious expectations. Such a narrative was to offer rich opportunities for musical characterization and evocation of the historical context of the action, as well as substantial challenges in pacing and integrating the sequence of dramatic 'snap-shots' that culminate in a scene of total despair. The colourful juxtaposition of secular life and that of a recluse in Act One culminates in a Second Act finale of immense dramatic power in which Saxton's vocal and instrumental writing reaches new heights - a landmark both in his output and in late 20th century opera. Caritas - first performed in 1991 - occupies an important position in Robert Saxton's output and, as Thomas argues, in British opera during the closing decades of the 20th century. Thomas provides a detailed contextual setting in which to evaluate Caritas, as well as presenting an analytical commentary on the structure, musical language, instrumentation, staging and production of the opera. Thomas concludes with a reflection on the reception of Caritas as well as looking forward to Saxton's later and future works. A downloadable resource of the first performance is included.
Wyndham Thomas, Honorary Research Fellow, Department of Music, University of Bristol, UK.
