Pina Bausch at Cal Performances
Om Shanti Om

Opening of The Rake's Progress

Laura Aikin and William Burden, Photo by Terrence McCarthy* Notes *
Stravinsky's The Rake's Progress opened yesterday in a co-production with
Théâtre Royal de la Monnaie, Opéra de Lyon, Royal Opera, Covent Garden, and Teatro Real Madrid. The opera was taken from the 16th century into the 1950s, so taken from when Hogarth's paintings are set to when the opera was premiered. The effect makes Stravinsky's self-consciously Baroque/Classical style, complete with harpsichord, somewhat nonsensical. The English countryside is reimagined as Texas, Nick Shadow takes Tom Rakewell to London to become a movie star. Carl Fillion's sets are exceedingly charming, it seems that every scene had something terribly clever in it as far as staging. Especially amusing were the bed that Tom and Mother Goose dally in, the inflatable movie trailer, the dollhouse meant to represent the Trulove home, Anne's flyaway scarf as she makes her way to London, and the swimming pool of the Rakewell home. Boris Firquet's video design was excellently incorporated, the scene changes that used this were seamless, and the only time the rather horizontal screen really bothered me was the movie marquee scene (Act II Scene 2), because naturally the eyes go up to see the rest of the building, and it is just blank black space. The lighting design, by Etienne Boucher, was blinding as Nick Shadow filmed Tom in Act I Scene 2, but was otherwise good.

Runnicles and the orchestra were not in their best form, they overwhelmed the singers, they were not always together, and the horns sounded rough. Both William Burden (Tom Rakewell) and Laura Aikin (Anne Trulove) sounded clear and bright. Burden sang quite plaintively, and Aikin sounded perfectly angelic and bell-like. James Morris was a placid Nick Shadow, his lower notes were slightly gravelly, though his higher range was pretty. Denyce Graves played Baba the Turk to a tee, her powerful voice has a wonderful warmth and was appropriately gruff in this role. In the smaller roles, tenor Steven Cole stood out as Sellem, his acting in the auction scene was hilarious, and though he was slightly quiet when he moved upstage, his voice is pleasing. Besides Ms. Graves and Mr. Cole, the acting of the principals was rather subdued. It was difficult to see how Tom's actions were motivated, Morris was particularly ambiguous, in playing the Devil himself, though unctuous, he did seem rather cold and bored.

* Tattling *
Because this opera opened the day after Thanksgiving and my family is not in the Bay Area, I had to convince a friend to get a ticket for me in the morning. Someone managed to sneak past her into the building and I got the following text message at 10:22 am: I had to beat a queue-cutting coot to get your #1 ticket. I hope you're happy!

Standing room was only moderately full, and the rest of audience was somewhat sparse. Everyone was pretty quiet, I heard no watch alarms on the hour. Someone tore paper at one point in Act I, but this was only for a few seconds. The sign asking people exit from the side doors during the performance was knocked over twice. There was much applause for the set, and this obscured the music more than once.

I was given a lovely crocheted cupcake in standing room, for my efforts in depicting pastry. Certainly it was one of the nicest presents I have received at the opera.