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

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

Tristan, English National Opera

My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

Lalo: Complete Songs

Edouard Lalo (1823-92) is best known today for his instrumental works: the Symphonie espagnole (which is, despite the title, a five-movement violin concerto), the Symphony in G Minor, and perhaps some movements from his ballet Namouna, a scintillating work that the young Debussy adored.

Pietro Mascagni: Iris

There can’t be that many operas that start with an extended solo for double bass. At Holland Park, the eerie, angular melody for lone bass player which opens Pietro Mascagni’s Iris immediately unsettled the relaxed mood of the summer evening.

L’italiana in Algeri, Garsington Opera

George Souglides’ set for Will Tuckett’s new production of Rossini’s L’italiana in Algeri at Garsington would surely have delighted Liberace.

Carmen in San Francisco

Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.

Eugene Onegin, Garsington Opera

Distinguished theatre director Michael Boyd’s first operatic outing was his brilliant re-invention of Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse in 2015, so what he did next was always going to rouse interest.

Bohuslav Martinů’s Ariane and Alexandre bis

Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.

Lohengrin, Dresden

The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of Lohengrin. For once in Germany it was not about the staging.

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):