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STRAVINSKY, I.: Rake's Progress (The) [Opera] (West, Garrison, Woodley, St. Luke's Orchestra, Craft) (Stravinsky, Vol. 11)

Composer(s):Stravinsky, Igor
Period(s) 20th Century
Genre Classical Music
Category Opera
Catalogue 8.660272-73
Label Naxos
Quality   320kbps
Album Price
USD 13.98


Robert Craft first met Stravinsky on the same day that Auden delivered the completed libretto to the composer, and was directly involved in what he describes as “the first step” in the composition of The Rake’s Progress. This was principally with regard to helping Stravinsky master the pronunciation, vocabulary and rhythms of the English text, and sharing the composer’s excitement as the brilliantly conceived score took shape. This 1993 recording, conducted by Craft, is no less significant than Stravinsky’s 1953 Metropolitan Opera recording, available on Naxos Historical 8.111266–67.


Review By Patricia Kelly,Courier Mail,June 2009

Conductor Robert Craft, a Stravinsky expert, chose a fine cast in soprano Jayne West (Anne Trulove), Jon Garrison (Rakewell) and John Cheek (Nick Shadow) to head the solo team accompanied by the Orchestra of St Luke’s and Gregg Smith Singers. In this digital re-release of an earlier production, the sound has clarity and vitality. The singing is splendidly poised in the elegant neo-classical setting. West’s soprano glows in her cabaletta I go, I go to him, with its shades of Mozart’s Come scoglio from Cosi. As Nick Shadow, Cheek’s sturdy singing creates a menacing Mephistopheles leading the rake to Bedlam, and although Garrison’s tenor is stressed at times, he expresses the folly and pathos of his rakish role. Clear diction


Review By David Denton, Naxos,May 2009

As we have progressed through Robert Craft’s complete Stravinsky survey, I have commented on his access to the composer’s final thoughts, that fact giving this Rake’s Progress a unique status. We are well aware from Stravinsky’s own recordings that his approach as a conductor to his music changed over the years, and without anything available after his live 1953 Metropolitan Opera recording [8.111266–67], Craft would seem to show that Stravinsky may latterly have wanted a more mellow approach. Craft, after all, was the one person who worked with him through much of the opera’s creative process. Certainly this reading would



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