Progress of the Rake
Glyndeborne East Sussex Until December 1
Rating: 
Stravinsky’s neo-classical masterpiece, The Rake’s Progress, after Hogarth, to a libretto by W. H. Auden and Chester Kallman, premiered in Venice in 1951, is a bit like Stravinsky himself.
It’s brilliant, but brittle and cold, so the spectacular rise and equally precipitous fall of Tom Rakewell rarely engages the emotions of the audience as a piece by Verdi or Puccini might.
We don’t sympathise with Rakewell, or feel sorry for him. Which is why The Rake’s Progress has never been a big hit. It is this reason that John Cox’s 46-year old production, featuring stunning sets by David Hockney and other notable performers, still thrives.
Nardus Williams plays Anne Trulove and Frederick Jones, as Rakewell, leads a strong cast. But the show is stolen by Sam Carl’s Nick Shadow
Hockney’s superb draftsmanship makes the gingham-check sets a constant pleasure to the eye. Act 2 is especially memorable for its morning room, which draws delight from the crowd as it goes up.
No expense was spared here, so the same setting in black and white, with costumes ditto, is reproduced in Act 3, as the ruined Rakewell’s possessions are put up for auction.
It was 30 years ago that I first encountered this music. It has remained in my mind ever since, and it’s every bit as good as I remember, even though Stravinsky’s music continues to lack much in the way of humanity, to my ears at least.
Cox is now in his 80s and returns to direct this delightful production. Nardus Williams plays Anne Trulove and Frederick Jones is Rakewell. But the show is stolen by Sam Carl’s Nick Shadow.
Carl sounds and looks truly evil (a compliment).His sardonically charming stage persona is one of the most impressive I’ve seen for the role. The young man is bound to succeed.
Kerem Hasan, a pit musician from a smaller than perfect touring orchestra, draws great playing.