User:Igorescudero/sandbox

The opera trilogy I, Claudius and Claudius the God is the work of composer Igor Escudero. The opera doesn’t actually match contemporary standards such is its eclecticism. It combines ancient world’s modes and melodies with the very origins of music and a tempered instrumental ensemble.

Characteristics
The opera I, Claudius and Claudius the God must be regarded as an innovative project. Not just because of the complexity of its plot and the size of its cast, but also because of its innovative score. Since inception, the project was conceived with the aim of breaking new ground in terms of stage language and structures.

This work tries to help in the development of a canon that opera productions have been following since last decades and proposes also new musical challenges that go beyond a simple change of location or wardrobe.

It is vital to adapt to the new times and create a new opera canon for the XXI century, more in line with the speed that our minds nowadays process the world.

The internal structure, the dramatic synergy, the musical style and the rhythm of this opera try to benefit from the structures and tools of our modern audiovisual media which, undoubtedly, determine our modern forms of expression.

The trilogy
The three parts, or chapters, that form I, Claudius and Claudius the God are titled Livia, Caligula and Claudius the God, and have been conceived to be performed not only sequentially, but also separately .

The libretto is true to Robert Graves’ novels: I, Claudius (1934) and Claudius the God (1935), both based on reliable historical sources.

This trilogy is the most significant challenge Escudero has faced yet. Its difficulty stems from his obsession with renovation in opera, beyond plots and story lines. Escudero’s concept includes renovation of rhythm, structure and musical form. In particular, Escudero has risen to the challenge of giving up conventional opera canons, structures and methods to create new synergies. Accordingly, it’s not just a coincidence that he decided to use such a literary masterpiece as dramatic foundation

.

Given that the opera covers seven decades in the History of Ancient Rome, it comes as no surprise the unusual number of characters -around 60-. Escudero also makes use of other genres’ means and narrative elements such as numerous shifts in location and flashbacks.

Part 1: LIVIA
After more than two decades of governing Rome, the great Augustus, first emperor and head of the Julio-Claudian family, has led the main world power to a golden era of wide expansion and social and economic growth. Yet, he wouldn’t have accomplished those goals had it not been for Livia, his wife, who controls him and actually runs Rome from the shadows. Through the years she has been slowly getting rid of anyone who dared escape her control, no matter if family or not.

It’s been foretold that the Julio-Claudian family will rule Rome for decades. This dynasty is a spring of heroes, but it also has its own black sheep: young Claudius. An extremely weak, crippled stutterer, at only one year of age he had already been close to death three times and had lost his father.

Despite his kindness, honesty and industriousness, Claudius is repudiated by almost everyone, even by his own mother. His brother Germanicus and his friend Postumus, who are both candidates to succeed Augustus as the leaders of Rome, are the only ones that love and respect young Claudius.

As Livia manipulates Augustus to name her son Tiberius as only heir to the throne so she can continue to rule Rome through him, Claudius, who dreams of becoming a historian and has no political aspiration, must learn to survive in a nest of vipers.

Part 2: CALIGULA
Following Livia’s death, Emperor Tiberius’ depravity is out of control. From his retreat in Capri, Tiberius –who has left Rome in the care of Sejanus, his right hand and leader of Guard- has ruined everything Augustus and Livia gave so much for to accomplish.

Rome hopelessly sinks into a dark age, marked by corruption and non-stop executions of citizens. They find solace in knowing that Tiberius’ life is close to an end, and that Caligula - the late Germanicus’ son- has been chosen to succeed him. High expectations are held for him. However, Claudius knows all too well that his nephew, Caligula, shares nothing of his father’s virtuous nature.

When Caligula finally occupies the throne, he couldn’t be more blessed: the treasure is at its best and the people adore him. But after just a few months, the people of Rome grow tired of his excesses and eccentricities. When love gives way to hatred, Caligula wastes no time in showing his true colours. As the treasure gets empty, Rome plunges into a reign of terror, even worse than that of Tiberius.

With the only support of his old friend Herod and the intelligent prostitute Calpurnia, Claudius –who has become Caligula’s personal fool- learns to tread the fine line of the emperor’s personality. One false move will mean death.

Part 3: CLAUDIUS THE GOD
Emperor Caligula has been murdered by his own captain of the Guard, Cassius. His death has left a power vacuum in Rome that the Senate, devoid of any ability to govern on its own after decades of humiliations and the submission, tries to fill by naming a new emperor: Claudius.

New to a position of power, Claudius proves wrong everyone who thought him a fool. For years, he devotes himself to work tirelessly to rebuild everything that his predecessors destroyed. He undertakes social and economic reforms, and also huge public works. Leading an army on the battlefield for the first time in his life, Emperor Claudius manages to annex and pacify Britain, making it a new roman province. All of his actions have one purpose only: to erase the Julio-Claudian dynasty mark on Rome and to give to the Senate the tools to function on their own. Time is close when Claudius will reveal his true intentions: to restore the Republic.

However, on his way to building a future new Rome, Claudius faces challenges he could not have anticipated. In Jerusalem, his good old friend Herod, who believes himself the incarnation of the messiah, plans a general uprising in the East.

And at home, Claudius doesn’t realise that the person he trusts the most is the one who most likely will betray him: his own wife Messalina.