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Baba’s Song. When he pushes her away she sings her Finale: Anne resolves to go to Tom. Once more the Aria of rage and recrimination. Tom finally silences her Ballad Tune is heard off-stage and Baba makes her by thrusting a wig over her face and in a Recitative he grand exit 0. falls asleep 1. Pantomime: While Tom sleeps Shadow STRAVINSKY comes in wheeling a fake machine which manufactures Scene 2: Prelude for string quartet !. Duet: In a church bread from stones. Recitative - Arioso – Recitative: Tom graveyard just before midnight Shadow offers Tom a awakes, wishing that his dream might come true. He choice of means with which to end his life, reminding sees Shadow, to whom he explains his dream of a him that his year and a day are up @. Recitative: The Rake’s Progress miraculous bread machine. Shadow then shows his Shadow grants Tom a stay to decide his fate by a game machine to the amazed Tom, who ‘makes’ bread with it, of cards #. Duet: Tom wins the first two guesses, and tastes it, and regains some hope for Anne’s love 2. almost despairs of final success $. Shadow senses Duet: Tom hopes that the machine may redeem him by success but, hearing the voice of Anne off-stage, Tom STRAVIN doing away with hunger and poverty. Shadow sees Tom places his faith once again in love, the Queen of Hearts, OR SK as a fool from whom money may be made 3 . and wins %. Shadow sinks into the grave he had chosen IG Y Recitative: They decide to go into business with the for Tom, casting a spell of insanity upon Tom as he machine. They desert Baba as they leave for their new does so ^. The dawn comes up on Tom, mad, lying on venture 4. the grave. He sings the ballad tune &.

Act III, Scene 1: The same room in Tom’s London Scene 3: Arioso: Tom in Bedlam begs Venus to come to house, the following spring. Anne looks for Tom in the him, her Adonis. Dialogue: Tom’s fellow madmen deny crowd which has come for the auction of his that Anne will come to Tom. Chorus – Minuet: They possessions 5. Recitative: Sellem welcomes the public sing of the misery of the hell of madness *. Recitative: 6. Aria-Bidding Scene-Aria-Bidding Scene-Recitative- the Bedlam keeper ushers Anne into the presence of Aria-Final Bidding Scene: Sellem auctions off an auk, a Tom. Anne goes to Tom and addresses him as ‘Adonis’, pike, a bust, and a palm, and finally Baba herself as ‘an while in her he recognizes his ‘Venus’ (. Arioso and unknown object’ 7. Aria: Brushing away the cobwebs Duet: Tom seeks Anne’s forgiveness, which she which have cocooned her, Baba arises from the chair, willingly gives ). Recitative: Exhausted, Tom lays his where apparently she has resided ever since Tom head on Anne’s breast ¡. Lullaby: Anne sings Tom to squelched her with his wig the previous autumn. She sleep ™. Recitative: Father Trulove comes to take Anne sings a variant of her last aria of the second act, until home £. Duettino: Trulove and Anne bid Tom good- 1 g interrupted by the voices of Tom and Shadow offstage. bye ¢. Finale: Tom wakes, calls for his Venus and dies 953 Recordin Recitative and Duet: Anne enters and goes to Baba 8. –. Mourning Chorus: the Chorus weeps for Adonis §. Duet: Baba admits to Anne that Tom still loves her, Epilogue: Anne, Baba, Tom, Trulove and Shadow point urges her to go to him, while she herself decides to the moral of their story: ‘For idle hands and hearts and return to the stage. The auction ends. Ballad Tune: Tom minds, the Devil finds a work to do’ ¶. Hilde Gueden • Eugene Conley • Blanche Thebom and Shadow are heard once again off-stage 9. Stretto- Mack Harrell • Martha Lipton • Norman Scott Metropolitan Opera Chorus and Orchestra Igor Stravinsky

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Great Opera Recordings Synopsis The whores commiserate with Tom. Mother Goose takes him from them and claims him for her own ^. The time and place of the action are eighteenth century Chorus: As she goes off with Tom the company Igor England. serenades them, though Shadow warns that when he wakes from his dreams he must die &. STRAVINSKY CD 1 (1882-1971) Scene 3: In the garden of Trulove’s country house, in Act I: Prelude. Scene 1: Duet and trio: In the garden of the autumn night. Recitative and aria: Anne, alone, Trulove’s house Anne Trulove and Tom Rakewell sing thinks sadly of the departed Tom *. Recitative and The Rake’s Progress of love and spring, while Trulove, witnessing the scene, aria: She prays for him and decides to go to him in Opera in Three Acts and an Epilogue sings of a ‘father’s prudent fears’ 1. Recitative: London (. Trulove offers Tom a position in a counting house Libretto by Wystan Hugh Auden and Chester Kallman which Tom refuses 2. Recitative and aria: Alone, Tom Act II, Scene 1: Aria: Alone in his London house Tom considers his refusal to work and entrusts himself to sings of his weariness with the city ). Recitative: He Fortune before swiftly pronouncing his need for money decries the attractions of London in favour of nature ¡. 3 4 Anne Trulove ...... Hilde Gueden (soprano) . Recitative: Instantly Nick Shadow appears . Aria: Aria: Sensing the emptiness of his predicament, he Shadow tells Tom, Anne and Trulove that a forgotten pronounces his second wish, for happiness ™ . Baba the Turk ...... Blanche Thebom (mezzo-soprano) uncle has remembered Tom with a rich legacy 5. Recitative: Nick Shadow instantly appears and induces Tom Rakewell ...... Eugene Conley (tenor) Quartet: Tom hopes that his wishes might come true Tom to marry Baba the Turk £ to free himself from Nick Shadow ...... Mack Harrell (baritone) while Shadow is thanked 6. Tom and Anne take joy in conscience and appetite ¢ and Aria: to demonstrate his Mother Goose ...... Martha Lipton (mezzo-soprano) their new prospects. Shadow advises Tom to go to freedom of will –. Duet-Finale: Shadow helps Tom Trulove ...... Norman Scott (bass) London to settle his estate and Tom is persuaded to go dress to go out for the wooing of Baba the Turk §. Sellem ...... Paul Franke (tenor) by Trulove. Recitative: Trulove and Shadow exit 7. Keeper of the Madhouse ...... Lawrence Davidson (baritone) Duettino: Anne and Tom exchange farewells 8. Scene 2: Introduction: The street in front of Tom’s Recitative: Tom hires Shadow and agrees to settle London house, autumn, dusk ¶. Recitative and Arioso: Metropolitan Opera Chorus accounts with him ‘a year and a day hence’ 9. Arioso Anne tries to renew her courage and resolve •. (Kurt Adler, chorus master) and terzettino: The leave-taking: Tom says farewell to Suddenly a procession of servants crosses the stage. Metropolitan Opera Orchestra Anne and Trulove, promising to send for them as soon Then a sedan chair swings into view from which Tom Igor Stravinsky as his affairs are settled 0. When the Truloves have alights; he is recognized by Anne. Duet: While Tom gone out together, Shadow tells the audience ‘the pleads with Anne to return to the country, saying he is ! Recorded 1st, 8th & 10th March 1953 in the Columbia 30th Street Studio, New York City Progress of a Rake begins’ . unworthy of her, she reminds him of her love for him ª. Recitative: Baba asks Tom to help her out of her First issued as Columbia SL-125 Scene 2: Chorus: Whores and roaring boys at night in sedan. Anne is shocked to hear from Tom that Baba is Mother Goose’s London brothel sing of their activities his wife º. Trio: Baba’s impatience goes unheeded as Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn and toast Venus and Mars @. Recitative and Scene: Anne and Tom mourn the breaking of their vows made Special thanks to Maynard F. Bertolet for providing source material Shadow asks Tom, for the benefit of Mother Goose, to in the country ⁄. Finale: Anne departs and Tom joins demonstrate the knowledge he has acquired under his Baba, who reveals her beard to the crowd before new tutelage. Tom defines Beauty and Pleasure but he entering the house ¤. cannot define Love. Tom wishes to leave the brothel, saying it is late, but Shadow puts the clock back an hour CD 2 to allow time for Tom’s revels #. Chorus: The whores and roaring boys continue their song. Recitative: Scene 3: Aria: In Tom’s London house Baba at Shadow presents Tom to the assembled company $. breakfast enumerates her collection of oddities. Trying Cavatina: Tom remembers his vows of love %. Chorus: to get close to Tom, who is ignoring her, she sings 8.111266-67 27 8.111266-67 111266-67 bk Rake's Progress EU 20/7/07 14:08 Page 6

Sarah Caldwell, with Robert Craft as assistant producer. 1959. He also sang in Chicago and San Francisco, and CD 1 73:25 ^ How sad a song 0:59 (Whores, Mother Goose) This production was significant in that it demonstrated pursued a notably successful concert career. Like Act I 43:33 that the work could be performed successfully by Conley, he possessed a voice of remarkable lyrical Scene 1 & The sun is bright, the grass is green 2:36 students. beauty. Nick Shadow was probably the rôle for which (Whores, Roaring Boys, Shadow) The Metropolitan Opera cast of 1953 was he was best known. 1 The woods are green 4:14 extremely strong, containing the cream of the Hilde Gueden (1917-87) studied piano, voice and (Anne, Rakewell, Trulove) Scene 3 company’s English-speaking singers, as well as the dance at the Vienna Music Academy. She made her 2 Anne, my dear 1:04 * No word from Tom … Quietly, night 4:23 Austrian-born soprano, Hilde Gueden, who took the stage début in 1937 at the Vienna Volksoper in (Trulove, Anne, Rakewell) (Anne) part of Anne Trulove. The rôle of Tom Rakewell was Benatzky’s operetta Herzen im Schnee. Her operatic sung by the American tenor Eugene Conley (1908- début took place in 1939, when she sang Cherubino in 3 Here I stand … Since it is not by merit 2:45 ( My father! Can I desert him … 1981) who established his reputation as a singer in Le nozze di Figaro at the Zurich Opera. In 1941 (Rakewell) I go, I go to him 3:50 (Anne) Europe, appearing at the Opéra-Comique in Paris and at Clemens Krauss invited her to join the Munich Opera, 4 Tom Rakewell? 1:28 the Royal Opera, Stockholm (1947) and at La Scala, where she sang with much success, before having to (Shadow, Rakewell) Act II (Beginning) 29:52 Milan, and Covent Garden, London (1949) before flee Germany because of her Jewish origins. She made Scene 1 making his Metropolitan opera début as Gounod’s Faust her Salzburg début in 1946 and from 1947 until 1973 5 Fair lady, gracious gentlemen 2:08 in 1950. He quickly became an audience favourite, was a favourite member of the Vienna State Opera, (Shadow) ) Vary the song, O London 3:08 (Rakewell) competing successfully with such European stars as excelling in the soprano rôles of Mozart and Richard 6 I wished but once 1:42 Jussi Björling, Giuseppe di Stefano and Ferrucio Strauss, as well as being a most distinguished star of (Rakewell, Shadow, Anne, Trulove) ¡ O Nature, green unnatural mother 3:06 Tagliavini, as well as with established favourites operetta. She made her Metropolitan Opera début in (Rakewell) Richard Tucker and Jan Peerce. He often sang with the 1951 as Gilda in Rigoletto, returning frequently as a 7 My Anne, behold 2:13 Cincinnati Opera and from 1960 to 1978 was artist-in- welcome guest. Blanche Thebom (Baba the Turk) was (Rakewell, Anne, Trulove, Shadow) ™ Always the quarry that I stalk 1:46 (Rakewell) residence at the University of North Texas. Opposite born in 1918. She studied singing with Margaret 8 Farewell for now 1:12 him as Nick Shadow was Mack Harrell (1909-1960). Matzenauer and Edyth Walker in New York, and made (Anne, Rakewell) £ Master, are you alone? 1:17 Following study at the Juilliard School, New York, her concert début with the Metropolitan Opera as Fricka (Shadow, Rakewell) Harrell made his début at New York’s Town Hall in in 1941. She made her stage début with the company in 9 All is ready, sir 0:48 1938. He went on to win the Metropolitan Opera 1944 at the Philadelphia Academy of Music as (Shadow, Rakewell) ¢ Come, master, observe the host of mankind 1:21 (Shadow) auditions of the same year and made his début with the Brangäne in Tristan und Isolde. She was the leading 0 Dear father Trulove 1:21 company in New York in December 1939 as Biterolf in dramatic mezzo-soprano of the Metropolitan Opera for (Rakewell) – In youth the panting slave pursues 2:16 Tannhäuser. He remained on the Metropolitan Opera 22 seasons (1944-1959, 1960-1967) appearing in 356 (Shadow) roster until 1948, and returned for the 1949-1950, 1952- performances across 28 rôles. She also sang in Europe, ! Laughter and light 1:48 1954, and 1957-1958 seasons. At the Met he sang a and was the first American to sing at the Bolshoy Opera (Rakewell, Anne, Trulove, Shadow) § My tale shall be told 2:24 (Rakewell, Shadow) wide repertory, appearing in 156 performances and 23 in Moscow. In 1968 she was appointed director of the Scene 2 different rôles. In May 1944 he made his first opera workshop of San Francisco State University. She Scene 2 appearance at the New York City Opera as Germont in lives and teaches in San Francisco. @ With air commanding and weapon handy 2:38 La Traviata, and returned there in 1948, 1951-1952, and David Patmore (Roaring Boys, Whores) ¶ Introduction 1:32 (Orchestra) # Come, Tom 3:59 (Shadow, Rakewell, Mother Goose) • How strange! … O heart, be stronger 2:39 (Anne) $ Soon dawn will glitter … Sisters of Venus, Brothers of Mars 1:37 ª What can this mean? 3:18 (Whores, Roaring Boys, Shadow) (Anne, Rakewell) % Love, too frequently betrayed 2:41 º My love, am I to remain in here for ever? 0:59 (Rakewell) (Baba, Anne, Rakewell)

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⁄ Could it then have been known 3:06 # Very well then, my dear and good Tom 1:29 (Anne, Rakewell, Baba) (Shadow, Rakewell) Igor Stravinsky (1882-1971) The Rake’s Progress ¤ I have not run away 3:05 $ Well, then … My heart is wild with fear 4:19 (Baba, Rakewell, Voices, Town People) (Shadow, Rakewell) Ever since his arrival in the United States of America in prowess with words. For instance at the first play- 1939, Stravinsky had wanted to write an opera in through of Act One in February 1949 Auden suggested CD 2 72:25 % The simpler the trick 3:05 (Shadow, Rakewell, Anne) English. At first his output was focused, as it had been that the heroine’s aria should end on a high C and Act II (Conclusion) 11:51 previously in France, on orchestral works, notably the immediately wrote a new line to allow for this. Scene 3 ^ I burn, I burn! I freeze! 2:16 Symphony in Three Movements (1942-45), and ballet Unusually Stravinsky had embarked on the (Shadow) scores, which extended from the brief Circus Polka composition of The Rake’s Progress without an 1 As I was saying … Come, sweet, come … (1942) to Orpheus (1947). It was while he was working external incentive: most of his major works were Scorned! Abused! 4:24 & With roses crowned 1:25 (Baba, Rakewell) (Rakewell) on Orpheus that he found the subject for his opera. On commissioned or written with the definite prospect of 2nd May 1947 he visited an exhibition of work by the performance. This was not the case in this instance. And 2 Fa la la 3:14 Scene 3 English artist William Hogarth at the Chicago Art so, unused to the problems of placing a work, it was not (Shadow) Institute that included the series of canvases entitled until quite late that the circumstances of the première * Prepare yourselves, heroic shades 4:05 3 Thanks to this excellent device 1:48 (Rakewell, Madmen) The Rake’s Progess, painted between 1732 and 1733 were settled. Assisted by a handsome commissioning (Rakewell, Shadow) and normally housed in Sir John Soane’s Museum in fee from the Italian government, Stravinsky eventually ( There he is. Have no fear 2:23 London. Popularised through the medium of decided upon the Teatro La Fenice, Venice, with the 4 Forgive me, master, for intruding 2:19 (Keeper, Anne, Rakewell) inexpensive engravings, these pictures portrayed the opera as the star attraction of the fourteenth Venice (Shadow, Rakewell) decline and fall of Tom Rakewell, and had already been Biennale of contemporary music. The contract was ) I have waited … In a foolish dream 2:52 Act III 60:34 (Rakewell, Anne) used as the basis of a ballet created by Ninette de Valois signed in February 1951, allowing little time for Scene 1 for the Vic-Wells Company in 1935, with a Handelian practical arrangements for the first set of performances, ¡ I am exceeding weary 1:05 pastiche score by Gavin Gordon. scheduled for September of the same year. His friend 5 Ruin. Disaster. Shame. 3:24 (Rakewell) Stravinsky decided that in the pictures lay the germ Carl Ebert was engaged as producer, but it was only in (Crowd, Anne, Sellem) of an operatic libretto, and next sought out a July that La Scala, Milan, assumed responsibility for the ™ Gently, little boat 3:04 6 Ladies both fair and gracious 1:40 (Anne, Madmen) collaborator to write it. He asked the advice of his production. The first performance, given on 11th (Sellem) Californian friend and neighbour Aldous Huxley, who September 1951, was an extremely glamorous occasion, £ Anne, my dear 0:58 recommended the English poet W. H. Auden, then although reactions to the production were mixed. 7 Who hears me, knows me 3:40 (Trulove, Anne) living in the United States. Auden, in addition to his Nonetheless the opera now began a triumphant progress (Sellem, Crowd) virtuosity as a poet, had written plays with Christopher around the world’s major opera houses. It was seen in ¢ Every wearied body 1:48 8 Sold! Annoyed! 2:19 (Anne, Trulove) Isherwood, and had collaborated on several musico- Edinburgh, Geneva, Paris, Strasbourg, Vienna and (Baba, Crowd, Rakewell, Shadow) dramatic projects with Benjamin Britten, including the across Germany during 1952 and reached the – Where art thou, Venus? 3:41 ‘choral operetta’ Paul Bunyan of 1941. Through Metropolitan Opera in New York in February 1953, 9 You love him, seek to set him right 4:24 (Rakewell, Madmen) Stravinsky’s publisher the two were in touch by letter where it was prepared and conducted by Fritz Reiner, (Baba, Anne, Crowd, Sellem, Rakewell, Shadow) during October 1947, Stravinsky already making it clear and directed by George Balanchine in sets by Horace § Mourn for Adonis 1:33 0 I go to him 2:04 (Chorus) that he intended to compose a ‘number’ opera. During a Armistead. During March the Metropolitan cast moved (Anne, Rakewell, Shadow, Baba, Crowd) week together in November they prepared a draft into the Columbia studios and recorded the opera under Epilogue scenario that was close to the final outline of the opera’s the bâton of the composer. Here he had orchestral forces Scene 2 narrative, as well as the placing and nature of the more to his liking than in the grand old Metropolitan ¶ Good people, just a moment 2:45 musical numbers. The completed libretto, partly written Opera House, where the work had been performed with ! Prelude 2:05 (Anne, Baba, Rakewell, Shadow, Trulove) (String Quartet) by Auden’s partner Chester Kallman, was delivered to quintuple wind and a piano instead of a harpsichord for the composer during the spring of 1948. Stravinsky the recitatives. A few months later, in May 1953, @ How dark and dreadful is this place 4:15 found Auden to be a sympathetic collaborator and was Stravinsky conducted the opera again, at the Boston (Rakewell, Shadow) particularly impressed by his extraordinary technical University Opera Workshop, where it was directed by

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8.111266-67 8 NAXOS Historical Gueden • Conley • Thebom • Stravinsky 8.111266-67 Time Playing 2:25:50 The Rake’s Progress The Rake’s ADD Epilogue 2:45 Act 1Act 1I - Beginning 29:52 43:33 Act 1I - ConclusionAct 1I I 11:51 57:49 4 ( ¤ § - - - - 8.111266-67 CD 11 ) CD 2 73:25 1 5 ¶ 72:25 Igor (1882-1971) Igor Stravinsky Igor STRAVINSKY Recorded 1st,Recorded 1953 8th & 10th March The Rake’s Progress Rake’s The Metropolitan Opera Chorus and Orchestra Metropolitan in the Columbia 30th Street Studio, New York City York Studio,in the Columbia 30th Street New Anne TruloveAnne ...... Gueden Hilde Turk...... Baba the Thebom Blanche RakewellTom ...... Eugene Conley Nick Shadow...... Mack Harrell Mother Goose ...... Martha Lipton ...... Trulove Norman Scott www.naxos.com to be conducted by the composer. All the musical forces were drawn from the Metropolitan Opera’s historic first Opera’s the composer.to be conducted by the Metropolitan from drawn were forces the musical All production, 1953, first seen on St. Day Valentine’s Reiner, Fritz conducted by all the musical who also took charge of Tom English speaking singers, of the Met’s the cream as from Conley tenor Eugene notably preparation.The cast was drawn was the Trulove Turk.Anne Rakewell, the Thebom as Baba them as Joining and Blanche as Nick Shadow Mack Harrell Austrian soprano Hilde Gueden who, popular immensely 1947 to 1973, from was one of the most distinguished singers of Vienna State Opera. the This 1953 recording was the first of the two complete recordings of Stravinsky’s operatic masterpiece of Stravinsky’s complete recordings first of the two was the This 1953 recording Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark F. material source Special thanks to Maynard Bertolet providing for photo:Cover Stravinsky, Igor 1940 (Private Collection) circa

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NAXOS Historical STRAVINSKY: The Rake’s Progress 8.111266-67