About the Work
for purchase/rental information.
Commissioner: Washington National Opera. Washington, D.C.
Librettist: David Johnston
Premiere: November 21, 2014. Kennedy Center, Washington D.C., U.S.A.
Watch: (concert version with piano reduction)
- Margot Craven, soprano
- Kent De Quincey, tenor
- Claudia Craven, mezzo-soprano
- Countess Eleanor Craven, soprano
Publisher: JR Music. Contact us for rental information.
Daughters of the Bloody Duke is a dark comedic one-act opera, in which Margot, the young daughter of the Bloody Duke of Ravenswood, must choose between love and the demands of her revenge-crazed family.
In a dark Gothic castle, the newlyweds Kent De Quincey and Margot Craven, have just spent their wedding night together. After Kent falls asleep, Margot prepares to murder him, having been ordered to by her father, Gilbert Craven, the Bloody Duke of Ravenswood. All forty of the Craven daughters have been ordered to kill their husbands the forty sons of De Quincey, who cheated Ravenswood out of his lands. Margot is interrupted by her sister, Claudia, who is covered with blood, drunk and gleeful after murdering her husband. After Claudia leaves, Margot attempts again to carry out the deed, only this time she is ordered to stop by the ghost of her grandmother, Eleanor, the Countess of Ravenswood. Margot must finally choose between her familys thirst for revenge and her own growing love for her new husband.
Washington Post Review
“And Runestad had fun going over the top, piling melody upon melody in a celebration of camp. Daughters of the Bloody Duke deserves to have a long and happy life… I would love to see what its creators come up with next.” Read more.
“Composer Jake Runestad…jumps out of classical musics academic prison, creating a score perfectly tailored to support his librettists humorous hallucinations. Indulging in all manner of musical styles, the composer takes the libretto and, in the words of the late Frank Zappa, puts the eyebrows on it…” Read more.
Opera Gonzo Review
“What a delight to hear actual full on laughter from an opera audience instead of the polite on cue tittering that so often passes for laughter at the Met. Runestad cleverly employed multiple musical melodies, while still maintaining a consistent through line for the piece. Therefore it never lost its sense of cohesion no matter how eclectic and varied the score. A truly fun and engaging listen.” Read more.