FULL The Rake’s Progress Buenos Aires 2023 Ben Bliss, Christopher Purves, Andrea Carroll, Patricia Bardon

Information on the Performance

• Work Title: The Rake's Progress or La carrera del libertino  
• Composer: Stravinsky Igor  
• Libretto: W. H. Auden, Chester Kallman    Libretto Text, Libretto Index
• Venue & Opera Company: Teatro Colon, Buenos Aires, Argentina  
• Recorded: July 2023
• Type: Staged Opera Live
• Singers: Ben Bliss, Christopher Purves, Andrea Carroll, Patricia Bardon, Hernán Iturralde, Alejandra Malvino, Darío Schmunck, Alejandro Spies
• Conductor: Charles Dutoit  
• Orchestra: Orquesta Estable del Teatro Colón  
• Chorus: Coro Estable del Teatro Colón  
• Chorus Master: Miguel Martínez  
• Stage Director: Alfredo Arias  
• Stage Designer: Julia Freid  
• Costume Designer: Julio Suárez  
• Lighting Designer: Matías Sendón  

Information about the Recording

• Format: Unknown
• Quality Video: 3 Audio:3
• Subtitles: nosubs  

• ADDITIONAL INFORMATION ON THIS PERFORMANCE

  PROGRAM LEAFLET

  Opera in three acts and an epilogue. Libretto in English by W. H. Auden and Chester Kallman, inspired by the homonymous paintings and engravings by William Hogarth (1735).

  Igor Stravinsky’s first approach to the idea of the pact with the devil was with The Soldier’s Story, in 1918, and based on a popular tale. More than thirty years later, he returned to this theme. In The Career –or the Apprenticeship– of the Rake, the names of the characters clearly indicate a moral message. Anne’s last name is Truelove (true love) and Tom’s is Rakewell (something like a good libertine) while the figure who tempts him – and leads him to lose what he loves the most – is called Shadow. The libretto by the poets W. H. Auden and C. Kallman is inspired by a series of engravings by the artist William Hogarth, and Stravinsky, like Picasso with a human face, draws on Mozart and eighteenth-century comic opera to invent a new figure. Alfredo Arias, responsible for the remembered staging of 2001, returns to the title to present, this time, the idea of the trial and who, sooner or later, must face the consequences of his actions (and omissions). The return to Colón of this opera, which somehow inaugurates musical postmodernism, will also have another great protagonist: the director Charles Dutoit
  Quoted from Teatro Colon

   

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