The Rake's Progress is Stravinsky's biggest work and one of the few great operas written since the 1920s, rare too for the unusual quality of its libretto, by Auden and Kallman. Its importance is undisputed, but so too are the problems it raises: problems of both performance and understanding, caused by the irony with which it is so thoroughly permeated. In aspects of style and operatic convention it looks back to the eighteenth century, and in particular to the operas of Mozart and da Ponte, while making references also to other periods, to operas from Monteverdi to Verdi. Yet at the same time it is wholly a work of the twentieth-century, and indeed it is centrally concerned with the impossibility of return, artistic, psychological or actual, as well as with the nature and limitation of human free will. The Rake's Progress is not one of unbridled dissipation but rather, more interestingly, one of attachment to naive notions of freedom and choice, and his tragedy is that he can never go back.
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First Sentence:
Rather than seek musical forms symbolically expressive of the dramatic content (as in the Daedalian examples of Alban Berg), I chose to cast The Rake in the mould of an eighteenth-century 'number' opera, one in which the dramatic progress depends on the succession of separate pieces - recitatives and arias, duets, trios, choruses, instrumental interludes. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
The Rake's Progress, Mother Goose, Queen of Hearts, Robert Craft, New York, Baba the Turk, Alexander Young, Covent Garden, Poetics of Music, Completes Act, Golden Age, Symphony of Psalms, United States New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Rather than seek musical forms symbolically expressive of the dramatic content (as in the Daedalian examples of Alban Berg), I chose to cast The Rake in the mould of an eighteenth-century 'number' opera, one in which the dramatic progress depends on the succession of separate pieces - recitatives and arias, duets, trios, choruses, instrumental interludes. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
The Rake's Progress, Mother Goose, Queen of Hearts, Robert Craft, New York, Baba the Turk, Alexander Young, Covent Garden, Poetics of Music, Completes Act, Golden Age, Symphony of Psalms, United States New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 16
books:
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- Themes and Conclusions by Igor Stravinsky in Front Matter, Back Matter (1), and Back Matter (2)
- The Rite of Spring (Dover Miniature Music Scores) by Igor Stravinsky on page 5, page 60, and page 98
- Themes and Episodes by Igor Stravinsky in Front Matter, Back Matter (1), and Back Matter (2)
- Memories and Commentaries: New One-Volume Edition by Igor Stravinsky on page 20, Back Matter (1), and Back Matter (2)
- Stravinsky: The Composer and His Works, Second edition by Eric Walter White in Back Matter (1), Back Matter (2), and Back Matter (3)
See all 16 books this book cites
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