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Yale Opera presents a new production of Stravinsky’s masterpiece The Rake’s Progress with the Yale Philharmonia, under the baton of Metropolitan Opera conductor Daniela Candillari, with staging by Danilo Gambini. A classic Faustian tale that warns us to be careful what we wish for, Stravinsky’s only full-length opera depicts the ...
13 de mar. de 2023 · The Rake’s Progress debuttò al Teatro La Fenice di Venezia l’11 settembre 1951 con lo stesso autore sul podio per la prima assoluta. Organizzata in arie, recitativi, cori e pezzi d’insieme in linea con lo schema teatrale settecentesco, l’opera mostra un carattere decisamente retrospettivo e rappresenta l’ultima tappa del periodo ‘neoclassico’ di Stravinskij.
31 de may. de 2022 · In spring 2015, the slot was taken by Stravinsky’s “The Rake’s Progress.” And in spring 2022, it is again. A restrained take on this sophisticated work, it opened on Monday and runs for ...
The Rake's Progress 1951 LIBRETTO LIBRETTO Wystan Hugh Auden 1907-1973 Chester Kallman 1921-1975 The libretto is written by W. H. Auden and Chester Kallman, and is loosely based on the eight paintings and engravings A Rake's Progress by William Hogarth.
A Rake’s Progress describes the moral and physical journey of its protagonist, Tom Rakewell, the son of a miserly City merchant. Hogarth presents the consequences of Tom’s moral choices; desertion, social climbing, extravagance and the sins of the flesh, as being shame, debt, degradation and ultimately madness followed by death.
The Rake's Progress Libretto. ACT I First Scene (The garden of the house of Truelove in the field on a spring afternoon. On the right side of the house, a fence with an iron gate. Anne and Tom sit together under a pergola) Trio ANNE The woods are green and bird and beast at play for all things keep this festival of May. With fragrant odours
The Rake’s Progress is a rejection both of Richard Wagner’s music-drama and of the expressionist works (like Berg’s Wozzeck) that it inspired. These passionate, sprawling musical statements were at odds with Stravinsky’s belief that you could express more in restraint than excess.
