Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Bampton Classical Opera Young Singers’ Competition 2017

Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Handel's Partenope: surrealism and sensuality at English National Opera

Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

English Touring Opera Spring 2017: a lesson in Patience

A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.

Opera Across the Waves

This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

A Winter's Tale: a world premiere at English National Opera

The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.

Wexford Festival Opera announces details of 2017 Festival

Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

Oxford Lieder Festival 2017: Gustav Mahler and fin-de-siècle Vienna

Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

OPERA TODAY ARCHIVES »

Reviews

Igor Stravinsky: The Rake’s Progress
14 Sep 2010

The Rake’s Progress at Théâtre Royal de la Monnaie

At some point it became a matter of honor for elite composers to have at least one go at a full length opera.

Igor Stravinsky: The Rake’s Progress

Anne Truelove: Laura Claycomb; Tom Rakewell: Andrew Kennedy; Nick Shadow: William Shimmell; Baba the Turk: Dagmar Peckova; Sellem: Donal J. Byrne. Symphony Orchestra and Chorus of La Monnaie - De Munt, Brussels. Kazushi Ono, conductor. Robert Lepage, stage director. Recorded live at Théâtre Royal de la Monnaie, Brussels on 26 and 28 April 2007.

Opus Arte OA BD7038 D [Blu-Ray]

$36.99  Click to buy

The resulting work usually becomes treasured by critics but somewhat less warmly received by the broader opera-going public. Debussy’s Pelléas et Mélisande is a gorgeous piece and almost surely a money loser when staged, at least for American companies. Of American companies as well, only the Metropolitan Opera seems able to gird its financial loins and put on Schoenberg’s Moses und Aron every few years. More recent works in this vein that tickle the rarefied fancies of professional opera journalists include Messiaen’s Saint Francois d’Assise and Ligeti’s Le Grand Macabre. The scores of these works, unsurprisingly, often demonstrate a sophistication and complexity beyond the reach of the humbler composers whose popular works keep opera house doors open. But an opera is more than a score.

For his sole full-length operatic venture, Igor Stravinsky composed a score to W. H Auden and Chester Kallman’s libretto for The Rake’s Progress that marries his brilliant rhythmic hi-jinks with a neo-classical homage, including set numbers for the characters. However, once Stravinsky’s mature compositional self emerged from the shadow of Rimsky-Korsakov, he hardly established himself as a memorable composer of melodies, and much of The Rake’s Progress glides by in a kind of tart musical glaze that seems ready to form an appealing tuneful idea but never does. The libretto earns points for its clever mutation of the original source material, a series of sketches by Hogarth. Despite having a world-class poet as part of the writing team, much of the language is weirdly awkward, and the story becomes just another twist on Faust/Mephistopheles tale. Stylized to the point of aridity, this is very very dry wine for connoisseurs.

The sheer theatrical imagination and sharpness of Robert LePage’s staging of The Rake’s Progress only reinforces these convictions for your reviewer. Filmed here in April 2007 at the Théâtre Royal de la Monnaie, the cameras actually don’t do the optimal job of preserving the effect of Lepage’s best ideas as seen in the house (your reviewer saw this production in San Francisco a few years ago). Close-ups bring the viewer too near the theatrical make-up and flatten the charm of some of the best ideas, such as the inflatable trailer home, a delightful event seen live but less charming on film. The design, by Carl Fillion, appears to be inspired by the CinemaScope expanses of the American west as seen in George Stevens’ Giant. The connection to the material is dubious but it makes for some striking visuals.

An able but uncharismatic cast is one big part of the reason why this DVD is less entertaining than it promises to be. Tom Rakewell is almost as much of a bore when dissolute as he is when innocent at the opera’s start. Andrew Kennedy has a lyric tenor with some substance but little color, and he is one key performer done no favors by a farsighted camera person. Laura Claycomb sings a very pretty Anne Truelove, and there isn’t much more to do with the role than that. Surely Mephistopheles can afford a premium hair stylist, but William Shimmell’s Nick Shadow has the thinning hair and pasty complexion of a middle-aged politician. He’s more unappealing than demonic. As expected, Dagmar Peckova steals her scenes with a perky, limber Baba Turk.

Kazushi Ono conducts the La Monnaie forces with the attention to precision the score demands. Many people do esteem this work highly, and for those, this DVD surely counts as essential. For all others, the best option for this opera in this staging is to catch it live.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):