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  • Stravinsky - The Rake's Progress / Lott, Goeke, Ramey, Elias, van Allan, Haitink, Glyndebourne Opera
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Stravinsky - The Rake's Progress / Lott, Goeke, Ramey, Elias, van Allan, Haitink, Glyndebourne Opera


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Product Details

  • Actors: Samuel Ramey, Leo Goeke, Felicity Lott, Richard van Allan, Bernard Haitink
  • Format: Multiple Formats, Classical, Color, NTSC
  • Language: English
  • Subtitles: Spanish
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Alliance
  • DVD Release Date: August 16, 2005
  • Run Time: 142 minutes
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (14 customer reviews)
  • ASIN: B000A16I2S
  • Amazon Best Sellers Rank: #136,538 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Stravinsky - The Rake's Progress / Lott, Goeke, Ramey, Elias, van Allan, Haitink, Glyndebourne Opera" on IMDb

Special Features

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Editorial Reviews

Leo Goeke, Felicity Lott, Samuel Ramey, Richard van Allan, and Rosalind Elias star in this 1975 Glyndebourne production of the Stravinsky opera, with Bernard Haitink conducting the London Philharmonic, and sets by David Hockney.

Customer Reviews

4.7 out of 5 stars
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Characters well portrayed by a star-studded cast.
Pauline E. Bentham
Rakewell spends his last days in an asylum thinking that he is Adonis and that his lost love, Anne, is Venus.
Daniel R. Coombs
My only knowledge of Stravinsky's music is Rite of Spring and Firebird.
Phillip

Most Helpful Customer Reviews

26 of 26 people found the following review helpful By J Scott Morrison HALL OF FAMETOP 100 REVIEWERVINE VOICE on September 14, 2005
Format: DVD
This 1975 production from Glyndebourne is one of the most celebrated opera productions of the past thirty years. Primarily this is because of the absolutely fabulous design by David Hockney who took the engravings of Hogarth's series 'The Rake's Progress,' which had inspired the opera in the first place, and turned them into some of the cleverest sets and costumes ever seen. The designs mimic the hatchmarks seen in etchings and are conveyed in only a few basic colors - black, blue, red, green - and appear not only in the backgrounds but also in the materials of the costumes themselves. Some of Hockney's 'Rake' designs can be found on the Internet, if one looks, and can give one an idea of how striking they are.

All that, of course, would be for naught if it weren't for the graceful stage direction by John Cox and the stunning musical direction by Bernard Haitink, leading the London Philharmonic Orchestra.

As for the cast, they are well-nigh perfect. Leo Goeke, a tenor of whom I am not generally fond, is perfect both in looks and sound for the rake of the title, Tom Rakewell. He limns the downward spiral of the young man with simplicity and without a bit of sentimentality. The then-young Felicity Lott, at the beginning of her career, is a simply stunning Anne Trulove. She sings with lyric beauty and her acting, in a fairly one-dimensional part, is believable and touching. Her 'Gently, little boat' brings tears to one's eyes. Samuel Ramey, also at the beginning of his career, is splendid as the efficiently evil Nick Shadow, with enough charm to make the character believable. The card-playing scene in the graveyard between Tom and Nick is paced, sung and acted so credibly that one holds one's breath.
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19 of 19 people found the following review helpful By Keris Nine TOP 1000 REVIEWER on December 21, 2011
Format: Blu-ray
Few productions seem so perfectly matched and strike such a perfect balance between the intentions of the opera work and its presentation on the stage as David Hockney's designs for the classic Glyndebourne production of Igor Stravinsky's The Rake's Progress. The measure of the success of the production is that it was first put on at Glyndebourne in 1975 and, as this 2010 performance at the festival shows, it is still delighting and wowing audiences thirty-five years later and will no doubt continue to be revived for many more years. There aren't many productions that have that kind of staying power. A modern artist surely not to everyone's taste, one might expect something relatively avant-garde from David Hockney when called upon to design the set for a 20th century opera, but in reality, his approach almost perfectly mirrors Stravinsky's method of composition for The Rake's Progress. Seeking inspiration directly from the source of William Hogarth original drawings made in the 1730s, Hockney's sets reproduce the intricate cross-hatching in bold, colourful strokes on flat board backdrops - a modern interpretation of a classical design.

It works so well because, after all, that's exactly what Stravinsky's opera does also. Composed in 1951, the composer working in the neo-classical form (before he moved on to serial composition), The Rake's Progress accordingly plays to the conventions of the 18th century opera. Classically structured into three acts, with three scenes in each, Stravinsky's 20th century composition even uses recitative with harpsichord continuo and da capo arias in his treatment of a subject that has many resonances with Mozart's operas.
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26 of 28 people found the following review helpful By RENS on September 9, 2005
Format: DVD Verified Purchase
This 1975 Glyndebourn Festival production of The Rake's Progress cannot be surpassed. David Hockney's sets refer back to the 18th Century engravings by Hogarth that inspired Auden and Stravinsky. He magically uses the effect of black and white engraving lines along with brightly colored costumes to achieve a feast for the eyes. Bernard Haitink conducts Stravinsky's score with an ear for accuracy and affect. Perhaps he might have directed with a mite more "snap" to the rhythms, but this is a very minor quibble.

Felicity Lott's Ann Truelove is sweetly innocent yet passionately in love. Her singing is exquisitely produced and nuanced. Goeke's Tom Rakewell's descent into greed, lust, boredom, and failed good intentions is masterfuly portrayed. His voice is light and accurate, just as the score calls for. When his love for Ann saves him from damnation and his association with the devil robs him of his sanity, the scene in Bedlam in which he thinks Ann is Venus and he sings of his love for her thinking he himself is Adonis - well, the heart breaks and breaks again. Samuel Ramey's Nick Shadow is as good as it gets: he is in turn charming, insidious, theatening, seductive, sarcastic and, yes, thoroughly diabolical. Of course, his singing is impeccable. One is reminded of how perfect a Mefistofele he made in Boito's opera of the same name (available on VHS and DVD in a San Francisco Opera production). Rosalind Elias sings and plays Baba the Turk with her usual command of her art; she is simply fabulous, at times hilarious and at times imperious. Richard van Allan brings vocal distinction together with dignity and compassion to the part of Father Truelove. The other singers are excellent in their roles (Mother Goose, Sellem the auctioneer, the warden in Bedlam).
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