In the theme of devilish seduction and liberation, Klarafestival programmed in collaboration with Muntschouwbrug a production of Stravinsky's The Rake's Progress that was remarkable in several respects. In all its simplicity and originality, it was overwhelming and captivating. Barbara Hannigan did not miss her debut as an opera conductor, and the young singers made the minimal staging into a feast.
The staging may be minimal, but several rows of the stalls have been removed. After all, the orchestra is on stage and the playing space is extended with a square piece into the auditorium. On that playing space stands a large, grey wooden box, which particularly piques curiosity. How will it be played with, in, around? It looks as though it obstructs the view of the orchestra behind it. Barbara Hannigan herself quickly solves it as she comes on: she sprays some (pseudo)-insecticide or so around the cracks (disinfection can be useful?), and the walls of the box fall open to form a playable surface. Then she positions herself in front of her orchestra and with tremendous dynamism Stravinsky's opera's short prelude bursts forth. The singers sit along the edge of the box. Only Tom Rakewell sits alone and pensive in the middle. The tone is set, attention is drawn, the story can begin.
The Rake's Progress by Igor Stravinsky is the bizarre story of Tom Rakewell: a young man engaged to a sweet and simple country girl. Her father first wants the guarantee that he is not giving his daughter to a good-for-nothing. Tom takes life the easy way, but still wants to have the world at his feet. He allows himself to be seduced by a deceptive figure, Nick Shadow: a kind of Mephistopheles who destroys him within a year. After the temptations of perverted city life and an arranged and failed marriage to a bearded lady, Baba the Turk, Nick Shadow demands an accounting. Tom does not yet admit defeat and wins the card game that determines his fate. Shadow then takes control of his mind. Tom goes mad and spends his days in an asylum, where Anne visits him one last time.
Simple but effective
Apart from Tom Rakewell, in white trousers and shirt over which a neat waistcoat or jacket is worn depending on the scene, everyone is dressed in black, with wide loose bloomers. The clothing looks somewhat Victorian or like a stylized modern version of the Hogarth drawings on which Stravinsky based his opera. The costume changes happen plainly on stage. For example, you see Baba The Turk put on her beard and ornate headdress. The props are ready in black open cabinets at the edge of the playing space, all very efficiently. Stagecraft can be this simple – and yet the audience is held spellbound, scene after scene.
The staging is full of surprising inventions that never seem too contrived. A striking constant is the heavy chain that Nick Shadow carries throughout the performance. Like a Cerberus from the underworld, where he eventually drags Rakewell as well. He cannot escape his malevolent intentions and the subtle play to keep Rakewell in his power. For the scene with the whores or the one with the auction of Baba The Turk's possessions, much is left to the audience's imagination, but the young singers act so explicitly that thanks to their expressive gestures and vocal expression there is certainly no shortage in the performance. The scene with the bread machine is a funny trick with three players and indeed some stones that become bread. The lighting also works wonders from time to time. An undeniably fantastic achievement by Swedish director and lighting designer Linus Fellbom.
First exploit
The engagement of the singers is almost palpable. Barbara Hannigan can justly be proud of her initiative for this mentorship program called Equilibrium, which gives young singers on the verge of professionalism a chance. The vocal parts, however, frequently venture towards the boundary of dissonance and tend towards rhythmic spoken song. Moreover, the conductor stands behind them and thus cannot provide much support! Elgan Llŷr Thomas is an excellent Tom Rakewell, who with firm and supple tenor simultaneously goes disarmingly and powerfully towards his downfall. Anne Trulove is an almost feminist Aphrodite Patoulidou, who experiences her tragic love with realism but is also touching. A strong voice that can hold a pianissimo beautifully, but in the fierce passages frequently has too much vibrato. Nick Shadow (Yannis François) acts as if he is a born schemer and he masterfully commands the stage at each of his appearances. He was announced as suffering from bronchitis, and you could hear that he clearly spared his voice at times. Or had to spare it. A pity, because even so you were convinced of his potential. Fortunately he made it to the end of the performance. The other roles also deserve individual appreciation. Of course we mention the fine contribution of the Flemish Radio Choir, rehearsed by Bart Van Reyn. It was cleverly involved in the action.
Barbara Hannigan is an experienced conductor - see the review on Klassiek Centraal of the cd Barbara got rhythm. However, this is her first venture as an opera conductor. She was in fine form with the LUDWIG Orchestra, and especially in the strongly rhythmic passages - and there are quite a few of those in this opera - at her best. Perhaps this was therefore an ideal choice for her to make her opera conducting debut. The tension was certainly there. The wind instruments (bassoon, trumpet) provided the most striking passages. In the more lyrical moments we missed some detailing and subtlety from the strings. The recitative contribution of the finely-timbred harpsichordist was remarkably successful.
I would venture to say that this performance will certainly be among the highlights of the Klarafestival. Since Klara will broadcast the second performance (of 26 March) live, a repeat broadcast at a later date might well be in the cards? It would certainly be worthwhile.
- WHAT: The Rake's Progress | Igor Stravinsky (1882-1971)
- DIRECTION: Linus Fellbom
- VOICES: Aphrodite Patoulidou, Elgan Llŷr Thomas, Yannis François, Fleur Barron, Antoin Herrera-Lopez Kessel, James Way
- MUSIC: Ludwig Orchestra cond. Barbara Hannigan, Vlaams Radio Koor cond. Bart Van Reyn
- WHERE: De Munt, Brussels
- WHEN: Monday 25 March 2019
- ORGANIZATION: Klarafestival 2019
- PHOTO: © Mats Bäcker