Stravinsky - The Rake's Progress / Bostridge · York · Terfel · von Otter · Howells · LSO · Gardiner

Editorial Reviews
Amazon.com essential recording
This release makes one wonder if there is any music John Eliot Gardiner can't conduct well. Here, for what is probably the first time on CD, Gardiner goes for Stravinsky, and while a nitpicker might point out that Rake is Stravinsky's "Mozartean" opera, let's face it--it's real Stravinsky. Gardiner manages the composer's angles and strange rhythms superbly, and he concentrates on the lower instruments as well (the engineers assist nicely throughout), leading a fleet, ironic performance of this tough work while underlining the score's sweetnesses as well. It doesn't hurt that he has the finest cast available: Bryn Terfel's Nick Shadow is amazingly nuanced, and only once or twice does the great bass-baritone do his infamous "whispering act." He's positively chilling in the graveyard scene. And what can one say about Ian Bostridge as the titular rake? When he says, "I wish I had money!" in Act I, he's Everyman; he wins us over and we feel for him no matter how stupid he is. He's a bit stressed at the very top of his range in the one or two forte passages, but considering how clever this artist is, it wouldn't be a surprise if he's doing it on purpose. Deborah York is such a fine Anne--singing with clean, white, innocent tone--that she even outdoes Dawn Upshaw's splendid portrayal. Anne Sofie von Otter sings Baba's music impeccably (and in unaccented English), but, as usual, she seems more distinguished and artistic than moving. This set is now at the top of the pack; if you've been wondering about this opera and were wondering when and where to get your feet wet, go no further. --Robert Levine

Stravinsky - The Rake's Progress / Bostridge · York · Terfel · von Otter · Howells · LSO · Gardiner, Music, Igor Stravinsky, John Eliot Gardiner, Ian Bostridge, Bryn Terfel, London Symphony Orchestra, Monteverdi Choir, Anne Sofie von Otter, Anne Howells, Martin Robson, Julian Clarkson Peter Bronder, American 20th/21st Century Opera, Classical, Classical Music, Opera, Opera / Operetta / Oratorio, Opera/Operetta

Stravinsky - The Rake's Progress / Bostridge · York · Terfel · von Otter · Howells · LSO · Gardiner
Average customer rating:

Rises to the top of the heap

Exquisite!

An essential version

An example of great English opera!

What a fun performance!

Stravinsky - The Rake's Progress / Bostridge · York · Terfel · von Otter · Howells · LSO · Gardiner
Igor Stravinsky , John Eliot Gardiner , Ian Bostridge , Bryn Terfel , London Symphony Orchestra , Monteverdi Choir , Anne Sofie von Otter , Anne Howells , Martin Robson , and Julian Clarkson Peter Bronder
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000JSAL
Release Date: 1999-08-10

Tracks:

The Rake's Progress: Prelude
The Rake's Progress: Act I - Scene 1 - Duet And Trio
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Aria
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Recitative And Quartet
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Duettino
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Arioso And Terzettino
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Recitative And Scene
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Recitative
The Rake's Progress: Act I - Scene 2 - Cavatina
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 3 - Recitative
The Rake's Progress: Act I - Scene 3 - Aria
The Rake's Progress: Act I - Scene 3 - Recitative
The Rake's Progress: Act I - Scene 3 - Cabaletta
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Duet-Finale
The Rake's Progress: Act II - Scene 2 - [Introduction]
The Rake's Progress: Act II - Scene 2 - Recitative And Arioso
The Rake's Progress: Act II - Scene 2 - Duet
The Rake's Progress: Act II - Scene 2 - Recitative
The Rake's Progress: Act II - Scene 2 - Trio
The Rake's Progress: Act II - Scene 2 - Finale

Tracks:

The Rake's Progress: Act II - Scene 3 - Aria, Baba's Song, Aria
The Rake's Progress: Act II - Scene 3 - Recitative
The Rake's Progress: Act II - Scene 3 - Pantomime
The Rake's Progress: Act II - Scene 3 - Recitative - Arioso - Recitative
The Rake's Progress: Act II - Scene 3 - Duet
The Rake's Progress: Act II - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 1 - Ruin Disaster. Shame
The Rake's Progress: Act III - Scene 1 - Recitative
The Rake's Progress: Act III - Scene 1 - Aria
The Rake's Progress: Act III - Scene 1 - Aria, Recitative
The Rake's Progress: Act III - Scene 1 - Duet
The Rake's Progress: Act III - Scene 1 - Stretto-Finale
The Rake's Progress: Act III - Scene 2 - Prelude
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Recitative
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 3 - Arioso, Dialouge, Chorus
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Arioso
The Rake's Progress: Act III - Scene 3 - Duet
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Lullaby
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Duettino
The Rake's Progress: Act III - Scene 3 - Finale - Recitative
The Rake's Progress: Act III - Scene 3 - Finale - Mourning Chorus
The Rake's Progress: Epilogue

Amazon.com essential recording

This release makes one wonder if there is any music John Eliot Gardiner can't conduct well. Here, for what is probably the first time on CD, Gardiner goes for Stravinsky, and while a nitpicker might point out that Rake is Stravinsky's "Mozartean" opera, let's face it--it's real Stravinsky. Gardiner manages the composer's angles and strange rhythms superbly, and he concentrates on the lower instruments as well (the engineers assist nicely throughout), leading a fleet, ironic performance of this tough work while underlining the score's sweetnesses as well. It doesn't hurt that he has the finest cast available: Bryn Terfel's Nick Shadow is amazingly nuanced, and only once or twice does the great bass-baritone do his infamous "whispering act." He's positively chilling in the graveyard scene. And what can one say about Ian Bostridge as the titular rake? When he says, "I wish I had money!" in Act I, he's Everyman; he wins us over and we feel for him no matter how stupid he is. He's a bit stressed at the very top of his range in the one or two forte passages, but considering how clever this artist is, it wouldn't be a surprise if he's doing it on purpose. Deborah York is such a fine Anne--singing with clean, white, innocent tone--that she even outdoes Dawn Upshaw's splendid portrayal. Anne Sofie von Otter sings Baba's music impeccably (and in unaccented English), but, as usual, she seems more distinguished and artistic than moving. This set is now at the top of the pack; if you've been wondering about this opera and were wondering when and where to get your feet wet, go no further. --Robert Levine

Customer Reviews:

Rises to the top of the heap.......2005-09-18

I must confess that this is a revised review. I originally had a negative impression of this recording of The Rake's Progress because it seemed flimsy compared to the composer's own recording on Sony, with a callow Rake (Ian Bostridge) and a technically unperequipped Anne (Deborah York). But I overlooked some absolute positives: Terfel's definitive Nick Shadow, which really has no competition on disc, Gardiner's ultra-clear conducting of detail, which again has no equal and is greatly aided by DG's completely transparent recording. In the end thise virtues win out, and even though I like every ohter Anne on disc (Judith Rankin, Dawn Upshaw, and Sylvia McNair come to mind) better than York, she isn't enough of a reason to demote this performance. It's still rather cool and lightweight, but that's a perfeclty valid way too interpret Stravinsky's pastiche of 18th century style.

Exquisite!.......2004-07-08

THE RAKE'S PROGRESS is not only one of my favorite operas, but one of my favorite works of music. This may seem strange, as Stravinsky's neoclassical operatic morality fable is considered by many to be a cold, cerebral work. But quite on the contrary, THE RAKE is a jewel-like score full of lyricism (often of a Broadway-like accessibility), warmth, razor-sharp wit, and crystalline beauty - all of which John Eliot Gardiner and his forces bring out marvelously in this recording. Listen to the exquisite trio in Act II Scene 2 - perhaps the most beautiful number in the opera - and you'll see what I mean. Ian Bostridge's sensitively sung Tom Rakewell has just the right vocal personality - boyish, innocent, eager, and vulnerable. His and Deborah York's pure-toned voices are an extraordinary match: hear them blend seamlessly in their duets or the trio. Bryn Terfel's vivid, boisterous Nick Shadow and Anne-Sophie Von Otter's subtly witty Baba complete the cast. Conductor Gardiner uses his expertise in early music to emphasize THE RAKE's 18th-century roots and "chamber" texture. THE RAKE falls into the class of what I might call private favorites - works that are not universally "popular" but hold an extraordinary attraction for me personally. Both the Auden/Kallman libretto and Stravinsky's music are endlessly fascinating, and this CD has become the perfect means for me to enjoy them.

An essential version.......2004-05-27

The music of Stravinsky's wonderful opera THE RAKE'S PROGRESS is a surreal juxtaposition. While it is unmistakably 20th-century, it also hearkens back to 18th-century opera. But the 18th-century references and motifs are often presented in a distorted, ironic light, as if viewed through an acerbic modern lens. In this recording, John Eliot Gardiner conducts the score little differently than he would conduct Handel or Mozart. He draws crisp, clean playing from the orchestra, with livlier tempos, classical-style phrasing, and the lean, spare sound that we associate with "period" performance. The result is that the music sounds both classical and bitingly modern - the perfect combination for this quintessential work of Neoclassicism. I will not elaborate on the soloists, who are all excellent and stylistically match the orchestral playing. This is an essential version of this Stravinsky masterpiece to own.

An example of great English opera!.......2003-05-21

I have never been a fan of opera in English. However, I am a fan of Stravinsky and my favorite operas are those by Mozart. After hearing that Stravinsky used Don Giovanni, Cosi fan tutte, Le nozze di Figaro, and Die Zauberflote (four of my favorite operas) as inspiration, I couldn't resist.

The Rake's Progress is very "Mozartean", and the influences of Don Giovanni and Cosi fan tutte are plain as day. The score is light, fun, and beautifully played, sung and conducted. I have all the other available recordings of The Rake and this is hands down the best one. It's so vibrant and wonderful. The casting is exceptionally.

If you want a great recording of a great English language opera, snatch it up!

What a fun performance!.......2002-04-26

This recording receives an interesting criticism. One of the heresies of the early music / authentic performance practice crowd is that these guys take the score reading TOO LITERALLY. Now, with this recording Gardiner takes it on the chin because some of the notes are not exactly what Stravinsky wrote.

Well, I know the score, too. And I am a Stravinsky nut. But I also love to be convinced musically and this performance is full of energy, life, and singing that seems to delight in the music and the music making. The orchestra plays like they are having FUN. One example is Tom's early aria when he sings "The world is so wide" The orchestra plays a descending run purely and cleanly yet we can hear the neighing of horses. Then Tom sings, " Come,wishes be horses; This beggar shall ride!" Great stuff!

If you want to learn to love opera and are an english speaker you can really go a long way with this wonderful opera and this wonderful recording. Don't worry about those who take severe stances on this or that point. That is purity as a vice. The point is the music and the music has a lot to do with the notes, but not EVERYTHING to do with the notes. But, by the way, they hit nearly all of them and the times they make alternative choices they aren't making mistakes, they are making choices. And the funny thing is, we know Stravinsky wanted his music performed exactly the way he wrote it, but this piece is modelled on eighteenth century opera where they would expect to make choices and the music as "necessary". Well, what does that mean for this piece? But this is too arcane an argument.

The fact is the music is a treasure and this performance is a delight.

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