doi: https://doi.org/10.1525/jams.2010.63.3.553. You could not be signed in. It’s really enjoyable to be able to have an English-language opera such as this, not to say it’s the only one. David Radok, First Director at The Göteborg Opera, has produced The Rake’s Progress in conjunction with scenographer Lars-Åke Thessman and costume designer Karin Erskine. ( Log Out /  All have a quicksilver precision about the orchestral playing, but Chailly's is let down by Cathryn Pope's pallid Anne Truelove, and Gardiner's is spoilt, amazingly enough, by Bryn Terfel's Nick Shadow, which is blustering and declamatory where it should be insidiously persuasive, to that extent that not even Ian Bostridge's rapturous Tom Rakewell can compensate.

Unfortunately, that’s the only Stravinsky most people know, and while they did mark the illustrious beginning of his career, that’s not what he continued to do for the rest of it. Huxley. I was completely foxed by it. The devil himself leads young Tom Rakewell into ruin in Stravinsky’s master piece from 1951.

Collaborating with poet Chester Kallman (1921 – 1975), Auden used Hogarth’s tale as a model for The Rake’s Progress . The act is sort of in two sections, separated by the Prelude of scene 2. It sounds at times of Copland’s ‘American’-esque rhythmic excitement, but alternatively in passages perfectly like a Mozartian aria. Unlike almost all of the works we discussed, with the exception of Puccini (but even Gianni Schicchi takes from Dante’s Divine Comedy) and Erwartung, all the operas started from existing literary stories or works. There’s a neoclassical feel to the work, but not as complete as, say, Prokofiev’s first symphony. Upshaw is more vulnerable and touching than any other Anne, and Hadley has done nothing better on disc. (In fact, this is only the second time he’s appeared on the blog!). The latter caused scandal when first performed, but later became a success and is considered one of his most famous compositions. Huxley. While the servants mourn, he is measured for new clothes,” and that (spoiler alert) by the end, he is “insane and violent.” How exciting.

Act III is the longest of the three, nearly half the performance time of the opera, and it is where Rakewell reaps what he sowed.

The versions by the composer's longtime assistant Robert Craft (Music Masters) and Seiji Ozawa (Philips) don't really make the grade, and a first choice rests between those conducted by Riccardo Chailly (Decca), Kent Nagano (Erato) and John Eliot Gardiner (Deutsche Grammophon). The opera became an enormous success and was performed all over Europe within a short space of time. The Russian composer was inspired to create The Rake’s Progress by eighteenth century artist William Hogarth. In several documentaries he also showed a deep and dry sense of humour. He proclaimed it the best performance of the opera he had ever seen. The Russian Ballets (Ballets Russes) performed in Paris, and Stravinsky composed a number of works for them within a short period of time: The Firebird (1910), Petruschka (1911) and The Rite of Spring (1913). A moral fable with comical elements and musical nods to the great composers of the time. All rights reserved. On the advice of Huxley, Stravinsky began his work with the British poet W.H. Introduced as Stravinsky’s last work from his “neoclassic” period, The Rake’s Progress was composed between 1948 and 1951 based on a series of eight engravings by the painter William Hogarth, entitled “A Rake’s Progress” (1732-1733). By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first efforts at serial composition in the Cantata (1952), this article contextualizes the seemingly anomalous expressiveness in The Rake's Progress. musical sketch is shown in its entirety in Example 1.1 The accompa- 3 in F major, op. It doesn't feel like a transitional work, but it is the effortless appropriation of the stylisation of 18th-century opera, complete with a reliance upon set-piece arias and recitatives, and the use of a classically proportioned orchestra, gives no hint of the plunge into serialism that Stravinsky would make in the following years. As with so much of Stravinsky's output, the composer's own interpretation serves as the starting point for any evaluation of subsequent accounts, and in this case there are two studio versions that he conducted, the second of which, made in London in 1964, with Alexander Young as Tom Rakewell (Sony Classical), stands up the better now. I won’t discuss it in too much detail, but Tom Rakewell, a poor country boy is visited by one Nick Shadow and informed that a distant relative of his has died and he must travel to London to collect his inheritance. The Rake's Progress plot summary, character breakdowns, context and analysis, and performance video clips. © 2020 Guardian News & Media Limited or its affiliated companies. The libretto was written by W.H. What follows this month of enormous pieces with enormous articles about them is something much smaller but no less moving, so thank you very much for reading and do stay tuned! Now you finally have the chance to see The Rake’s Progress at The Göteborg Opera. Auden and Chester Kallman (one of those names you know much more than the other, probably, but they knew each other quite well, to say the least), and the work was premiered in Venice on September 11, 1951, being premiered in America a year and a half later, in February of 1953. Auden and Chester Kallman Sung in English with English surtitles With its beautiful arias contrasted with episodes of high drama and low comedy, The Rake’s Progress reveals Stravinsky’s very personal take on the neo-classical style during a turning point in the composer’s career. There’s foreshadowing, irony, a character’s tragic flaw and ultimate downfall, a very real conflict between good and evil, and all of this forces us to ask ourselves questions and ponder the decisions and their outcomes that we vicariously experience. Stravinsky’s application of that text is also very effective. ( Log Out / 

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