STRAVINSKY’S ‘THE RAKE’S PROGRESS’ CLOSES UTAH OPERA SEASON

Utah Opera hasn’t been known for adventurous programming, nor for straying too far away from the standard repertoire. But it’ll do exactly that when it closes its season with the Utah premiere of Igor Stravinsky’s 1951 opera The Rake’s Progress. The production will also mark Utah Symphony music director Thierry Fischer’s Utah Opera debut.

The libretto, by W.H. Auden and Chester Kallman, tells of Tom Rakewell’s journey into a life of debauchery. Rakewell deserts Anne Trulove, the woman he loves, for the temptations that the devil, in the guise of Nick Shadow, offers. In the end, Rakewell’s fate is decided by a game of cards.

Performances of The Rake’s Progress run May 9-17 in the Capitol Theatre.

Regarded as one of Stravinsky’s major works from his neoclassical period, it’s an undisputed operatic masterpiece, although not everyone’s favorite 20th century opera. No less an operatic personality than Benjamin Britten had a caustic comment after seeing it: “I liked the opera very much. Everything but the music.”

That’s not the case with the cast assembled for this production. Both Jill Grove, who sings Baba the Turk, and Mark Schnaible, who sings Nick Shadow, admit they love the work. And even though it can be tricky to sing, they’re relishing the chance to do it.

“As a singer you have to want to be challenged rhythmically and melodically” said Schnaible. “We have our own sounds, and they’re not easily produced vocally.”

Grove said that her role is definitely a vocal roller coaster. “At the beginning my music is extreme and dramatic and athletic. It’s only later on that my music becomes more lyrical as I become more maternal and magnanimous.”

Norman Reinhardt, this production’s Tom Rakewell, and Joélle Harvey, who sings Anne Trulove, agree with Grove and Schnaible that the work places great demands on the singers, and also challenges the audience. “It’s not a fun piece,” said Reinhardt. “It’s not Barbiere or Cenerentola. It’s a heavier kind of piece. But I like it.” This will Reinhardt’s second outing as Rakewell

While The Rake’s Progress has never found a permanent place in the repertoire, it’s nevertheless performed with some frequency. Part of the reason for its staying power is that audiences can relate to the characters. “We see a part of ourselves in Tom,” Reinhardt said. “People have gone down the same path Tom has. Not exactly the same path, because his is an extreme case, but we can see ourselves in Tom, and also in Anne.”

“Tom represents humanity in the opera, and Anne represents hope and salvation,” Harvey said.

Utah Opera’s production features the sets and costumes designed by renowned British artist David Hockney for a performance of The Rake’s Progress at the Glyndebourne  Festival Opera in 1975. Hockney’s design has been used a number of times since, including at La Scala, Paris and New York. And the same production seen here will also soon be mounted by Portland Opera and Pittsburgh Opera. (To see Hockney’s designs log on to http://www.hockneypictures.com/rakes_progress.php.)

Harvey said audiences have a lot to look forward to in this production, and not only because of the spectacular sets. “You can expect to have your thoughts provoked. There is a lot to soak in. You’ll think about it afterwards, because there are things in the opera that are not immediately obvious.”

  • PERFORMANCE DETAILS
  • What: Utah Opera, The Rake’s Progress, by Igor Stravinsky
  • Venue: Capitol Theatre
  • Time and Date: 7:30 p.m. May 9, 11, 13, 15; 2 p.m. May 17
  • Tickets: $18-$95, $10 students and anyone 30 and younger (ticket prices increase $5 when purchased on day of performance)
  • Phone: 801-355-2787, 888-451-2787
  • Web: www.utahopera.org
  • ALSO: “Opera-tunity,” Capitol Theatre, 7 p.m. May 7, high school students can attend the final dress rehearsal for $3.
  • ALSO: Opera Prelude Lecture by Utah Opera principal coach Carol Anderson, Capitol Room, Capitol Theatre, one hour preceding each performance, free for ticket holders.
  • ALSO: Q&A Session with Utah Opera artistic director Christopher McBeth, Capitol Room, Capitol Theatre, immediately following each performance, free for ticket holders.