"and the choreography by Boris Romanov. Stravinsky later prepared a symphonic poem, ""Le chant du rossignol (The Song of the Nightingale)"", using music from the opera, in 1917, as a separate concert work. After its founding in 1956, The Santa Fe Opera in Santa Fe, New Mexico presented many operas by Stravinsky during its first decade, including—during its opening season in 1957—""The Rake's Progress"". Additionally, several performances of ""The Nightingale"", with Stravinsky himself conducting in 1962 were part of his 80th birthday celebrations; other stagings took place in 1963, 1969, 1970, and 1973. In 2014, the opera was paired with"
"Gavin Gordon (composer) Gavin Gordon (24 November 190118 November 1970) was a Scottish bass singer, actor and composer, best known for his 1935 Hogarthian ballet ""The Rake's Progress"". Gavin Gordon was born in Ayr, Scotland in 1901, as Gavin Muspratt Gordon Brown. He went to Rugby School then studied music at the Royal College of Music in London under Ralph Vaughan Williams and other teachers. His ballets ""A Toothsome Morsel"" (1930), ""Regatta"" (1931), ""The Death of Hector"" and ""The Scorpions of Ysit"" (1932) did not remain in the repertory. More lasting fame, however, was accorded to ""The Rake's Progress"" (1935),"
"and Lukas Foss. He conducted the Pittsburgh Symphony Orchestra from 1938 to 1948 and made a few recordings with them for Columbia Records, then spent several years at the Metropolitan Opera, where he conducted a historic production of Strauss's ""Salome"" in 1949, with the Bulgarian soprano Ljuba Welitsch in the title role, and the American première of Igor Stravinsky's ""The Rake's Progress"" in 1951. He also conducted and made a recording of the famous 1952 Metropolitan Opera production of Bizet's ""Carmen"", starring Rise Stevens. The production was telecast on closed circuit television that year. At the time of his death"
"The Rake's Progress (ballet) The Rake's Progress is a short 1935 ballet based on the drawings of William Hogarth, with music by Gavin Gordon (1901-1970), choreography by Ninette de Valois, and set design by Rex Whistler. Gavin Gordon had written some earlier ballets that were not successful. By contrast, ""The Rake's Progress"" was an instant hit and has remained in the repertoires of a number of ballet companies. It is the only work of Gavin Gordon's that is remembered today. Gordon based his scenario for the ballet on Hogarth's series of paintings called ""A Rake's Progress"". These paintings influenced him"
"the music of the Classical period but also his exploration of themes from the ancient Classical world, such as Greek mythology. Important works in this period include the Octet (1923), the Concerto for Piano and Winds (1924), the Serenade in A (1925), and ""Symphony of Psalms"" (1930). In 1951, he completed his last neoclassical work, the opera ""The Rake's Progress"" to a libretto by W.H. Auden and Chester Kallman based on the etchings of William Hogarth. It premiered in Venice that year and was produced around Europe the following year before being staged in the New York Metropolitan Opera in"
"played, and danced""; in both cases the descriptions and instructions are those of the composer). In the latter, the actors declaim portions of speech to a specified rhythm over instrumental accompaniment, peculiarly similar to the older German genre of ""Melodrama"". Well after his Rimsky-Korsakov-inspired works ""The Nightingale"" (1914), and ""Mavra"" (1922), Stravinsky continued to ignore serialist technique and eventually wrote a full-fledged 18th-century-style diatonic number opera ""The Rake's Progress"" (1951). His resistance to serialism (an attitude he reversed following Schoenberg's death) proved to be an inspiration for many other composers. A common trend throughout the 20th century, in both opera"
"In 1963 he moved his winter home from New York to Athens, Greece, and died there at the age of 54. Kallman had been the beneficiary of the entirety of Auden's estate, but himself died intestate, with the result that the estate was inherited by his next-of-kin, his father, Edward Kallman (1892–1986), a New York dentist in his eighties. Together with his lifelong friend (and sometime lover) W. H. Auden, Kallman wrote the libretto for Stravinsky's ""The Rake's Progress"" (1951). They also collaborated on two librettos for Henze, ""Elegy for Young Lovers"" (1961) and ""The Bassarids"" (1966), and on the"
"also influenced many caricaturists of the 18th, 19th and 20th centuries. Hogarth's influence lives on today as artists continue to draw inspiration from his work. Hogarth's paintings and prints have provided the subject matter for several other works. For example, Gavin Gordon's 1935 ballet ""The Rake's Progress"", to choreography by Ninette de Valois, was based directly on Hogarth's series of paintings of that title. Igor Stravinsky's 1951 opera ""The Rake's Progress"", with libretto by W. H. Auden, was less literally inspired by the same series. Hogarth's engravings also inspired the BBC radio play ""The Midnight House"" by Jonathan Hall, based"
"and nature that he had emphasised in the 1930s); his poems on these themes included ""In Praise of Limestone"" (1948) and ""Memorial for the City"" (1949). In 1949 Auden and Kallman wrote the libretto for Igor Stravinsky's opera ""The Rake's Progress"", and later collaborated on two libretti for operas by Hans Werner Henze. Auden's first separate prose book was ""The Enchafèd Flood: The Romantic Iconography of the Sea"" (1950), based on a series of lectures on the image of the sea in romantic literature. Between 1949 and 1954 he worked on a sequence of seven Good Friday poems, titled ""Horae"
"in Stravinsky’s ""The Rake's Progress "", recorded for Deutsche Grammophon with the London Symphony Orchestra and John Eliot Gardiner, was awarded a Grammy Award. Her recording of Mendelssohn's ""Midsummer Night's Dream"" with Claudio Abbado and the Berlin Philharmonic, ""The Last Concert"", won the International Classical Music Award best orchestral category 2017. She took part in the project of Ton Koopman to record the complete vocal works of Johann Sebastian Bach with the Amsterdam Baroque Orchestra & Choir. Deborah York Deborah York (born 1964 in Sheffield) is a classical soprano in concert and opera, teacher and conductor living in Berlin since"
"ballet consists of the following numbers: Gordon employed the Swannee whistle in his orchestration. The ballet has had several recordings (conductors include Constant Lambert and Barry Wordsworth). Robert Helpmann, who was in the original cast, included it in The Royal Ballet's first tour of Australia in 1956. Other major artists to be associated with ""The Rake's Progress"" include Margot Fonteyn and Beryl Grey. The Rake's Progress (ballet) The Rake's Progress is a short 1935 ballet based on the drawings of William Hogarth, with music by Gavin Gordon (1901-1970), choreography by Ninette de Valois, and set design by Rex Whistler. Gavin"
"Zoltán Kodály, and also rescued Universal's Jewish staff, who later played an important role in developing the company. One such employee in particular, Ernst Roth, facilitated the signing of Richard Strauss and Igor Stravinsky, and was instrumental in the production of Strauss's ""Vier letzte Lieder"" (""Four Last Songs"") (1948; premièred 1950) and Stravinsky's ""The Rake's Progress"" (premièred 1951). Another significant figure from Vienna who occupied an editorial role was composer Arnold Schoenberg's pupil Erwin Stein, and after the war the composer Leopold Spinner, a pupil of Anton Webern, was also on the editorial staff. Stein was instrumental in founding the"
"at the age of seventy-three. Conley's discography includes complete recordings of ""Faust"" (with Eleanor Steber and Cesare Siepi, for Columbia, 1951), the first recording of ""The Rake's Progress"" (conducted by the composer, Igor Stravinsky, for Columbia, 1953), and Beethoven's ""Missa Solemnis"" (conducted by Arturo Toscanini, for RCA, 1953). In 1999, VAI published, on Compact Discs, a 1952 performance of ""Rigoletto"" from the New Orleans Opera Association, with Leonard Warren, Hilde Gueden, Conley, and the young Norman Treigle as Count Monterone, conducted by Walter Herbert. A ""pirated"" recording of the Verdi Requiem exists, with Herva Nelli and Conley, conducted by Guido"
"and from 1810 in Soane's town house in Lincoln's Inn Fields. The Brothel painting scene and the other seven paintings in the series are available in the picture gallery in the city residence, now converted to Sir John Soane's Museum. Hogarth's picture suite has been used as the basis for the English opera ""The Rake's Progress"", with libretto by W.H. Auden and Chester Kallman and with music by Igor Stravinsky. Stravinsky had noted William Hogarth's pictures at an exhibition in Chicago in 1947, and got the idea to write an opera on the theme. A Rake's Progress, 3: The Tavern"
"on) and London's Royal Opera House, Covent Garden (1954, 1956 and 1958). Cuénod was known for his roles as Basilio in Mozart's ""The Marriage of Figaro"", the Astrologer in Rimsky-Korsakov's ""The Golden Cockerel"", and a role written for him by Stravinsky, Sellem in ""The Rake's Progress"". In pre-war Vienna and Paris, he frequented aristocratic salons and worked with Nadia Boulanger, with whom he made a pioneering set of recordings of madrigals by Monteverdi in 1937; after the war, the new early-music boom relied heavily on his light, unmannered, natural sound. On February 4, 1969, Cuénod performed Renaissance music with American"
"Shaw. In 1951 Tangeman created the role of Mother Goose in the world premiere of Stravinsky's ""The Rake's Progress"" at La Fenice in Venice. The following year she performed the role of Dinah in the world premiere of Bernstein's ""Trouble in Tahiti"" at Berstein's Festival of the Creative Arts on the campus of Brandeis University in Waltham, Massachusetts to an audience of nearly 3,000 people. In 1955 she performed the role of Teresa in the American Opera Society's production of Vincenzo Bellini's ""La sonnambula"" at Carnegie Hall. As a recitalist she championed new works by American composers; most notably Ned"
"world premiere of the opera ""Schwarzer Peter"" by Norbert Schultze. In 1950, he joined the Stuttgart Staatsoper, where he became very popular and was, in 1977, named an honorary member. In Stuttgart, he sang in Igor Stravinsky's ""The Rake's Progress"". In 1956 he moved to the Vienna Staatsoper, where he had sung as early as 1941. He also sang at the Paris Opéra (1953–67) and at Covent Garden in London in tandem with the Stuttgart ensemble (1955, 1963 (Telramund), and 1965 (Alberich)). He was honored with the title German ""Kammersänger"" in 1952. Neidlinger's vocal abilities were marked by an imposing"
"and ""The Rake's Progress"" (1951), Sergey Prokofiev's ""The Love for Three Oranges"" (1919) and ""Betrothal in a Monastery"" (1940–1941), and Dmitri Shostakovich's ""The Nose"" (1928, staged 1930). Simultaneously, the genres of light music, operetta, musical comedy, and later, rock opera, were developed by such composers as Isaak Dunayevsky, Dmitri Kabalevsky, Dmitri Shostakovich (Opus 105: ""Moscow, Cheryomushki"", operetta in 3 acts, (1958)), Tikhon Khrennikov, and later by Gennady Gladkov, Alexey Rybnikov, and Alexander Zhurbin. The 21st century in Russian comic opera began with the noisy premieres of two works whose genre could be described as ""opera-farce"": ""Tsar Demyan"" (""Царь Демьян"") –"
"début at the Chicago Civic Opera in Ernest Moret's ""Lorenzaccio"" in 1930. Her career at the Metropolitan Opera was brief: she made her début in May 1937, as Mignon, and appeared for a few seasons in the 1940s as Rosina, Adalgisa and Carmen. In 1940, just before the occupation of Paris by Nazi troops, she went to Lisbon, and eventually emigrated to the United States. She became a naturalized American citizen in 1946. In 1951 she created the role of Baba the Turk in Stravinsky's ""The Rake's Progress"". She gave the first performances of songs by Leonard Bernstein (including the"
"Opera in Stockholm in 1952 and was a member of the company until 1981. Among over 100 roles which he sang were the Count (""Le Nozze di Figaro""), Beckmesser, Wolfram (""Tannhäuser""), Scarpia, Jochanaan, Golaud, Pimen, Wozzeck (Swedish premiere, 1957) and Nick Shadow in ""The Rake's Progress"" (Swedish premiere, 1961). He created roles in several opera premieres: Appearances outside Sweden included Bayreuth (Kurwenal in ""Tristan und Isolde"", Herald in Lohengrin and Donner in ""Rheingold""), the Edinburgh Festival in 1959 and 1974), Savonlinna in 1989 (Henrik in ""Singoalla"" by Gunnar de Frumerie), Hamburg, the Royal Opera House Covent Garden (1960, 1981), Montreal"
"1953, as the brothel keeper in the British stage première of Stravinsky's ""The Rake's Progress"". In concert, she was famed as contralto soloist in Handel's ""Messiah"", J.S. Bach's ""St Matthew Passion,"" Mendelssohn's ""Elijah"" and Beethoven's Choral Symphony. She was also a well-known Angel in Elgar's ""The Dream of Gerontius"". ""The Times"" commented: ""In all these parts her commitment, sincerity and warmth of personality were abundantly evident."" On 5 October 1938, she was one of the original 16 singers in Vaughan Williams's ""Serenade to Music"". After her retirement, she was a professor at the Royal Academy of Music from 1965 to"
"After 1951, he served as principal conductor of the Vienna State Opera, conducting the Austrian premiere of Stravinsky's ""The Rake's Progress"" In one of his recordings with the Bamberg Symphony Orchestra, he is credited as ""George Richter"". Heinrich Hollreiser Heinrich Hollreiser (24 June 191324 July 2006) was a German conductor. Born in Munich, he attended the State Academy of Music there and went on to serve as the conductor at the opera houses in Wiesbaden, Darmstadt, Mannheim, and Duisburg. From 1942-1945, he served as the principal conductor of the Bavarian State Opera, while serving as the music director at the"
"Leo Goeke Leo Goeke (November 6, 1937, Kirksville, Missouri — September 18, 2012, Pittsfield, Massachusetts) was an American operatic tenor who had an active international career from the 1960s through the 1980s. He was particularly admired for his portrayal of Tom Rakewell in ""The Rake’s Progress"" at the Glyndebourne Festival in 1975 and its subsequent revivals there in 1977, 1978 and 1980. He was also lauded for his portrayal of Gandhi I in Philip Glass’ ""Satyagraha"" which he performed in a production staged by Achim Freyer at the Stuttgart Opera in 1983. Other opera companies which he sang leading roles"
"The Rake's Progress (film) The Rake's Progress is a 1945 British comedy-drama film. In the United States, the title was changed to Notorious Gentleman. The film caused controversy with U.S. censors of the time, who trimmed scenes for what was considered graphic amoral and sexual content. The plot follows the career of upper-class cad Vivian Kenway (Rex Harrison). He is sent down from Oxford University for placing a chamber pot on the Martyrs' Memorial. Sent to South America, he rebels against plantation life, eventually becoming a car racing driver. He descends to a life of woman-chasing and drunkenness, which causes"
"characters described. Jane Henschel Jane Henschel (born 2 March 1952) is an American operatic mezzo soprano. Henschel, who was born in Wisconsin, studied at the University of Southern California, and then pursued further studies in Germany, where she has made her home. Her numerous opera appearances include Baba the Turk in Igor Stravinsky's ""The Rake’s Progress"" with Glyndebourne Festival Opera, the Saito Kinen Festival Matsumoto, and the Salzburg festival; Brangäne in Richard Wagner’s ""Tristan und Isolde "" with Paris Opéra and the Los Angeles Opera; the Principessa in Giacomo Puccini’s ""Suor Angelica"" with conductor Riccardo Chailly and the Royal Concertgebouw"
"as well as Basilio. He recorded the part of Don Basilio in a cast headed by Dietrich Fischer-Dieskau, Heather Harper and Geraint Evans, conducted by Daniel Barenboim in 1977. Also at Glyndebourne he sang in ""Il ritorno d'Ulisse in patria"", Monsieur Triquet in ""Eugene Onegin"" and Sellem in ""The Rake's Progress"", praised by ""The Independent"" for his ""classic timing"". There he also created the role of Captain Lillywhite in the premiere of ""The Rising of the Moon"" (1970). He appeared at Rome Opera as Sellem in ""The Rake's Progress"", at Carnegie Hall, as Sportin' Life in ""Porgy and Bess"", with"
"of a condensed radio adaptation, originally presented in 1942 and starring John Gielgud, which included, as background music, several excerpts from Vaughan Williams' orchestral works. The book was the basis of ""The Pilgrim's Progress (opera)"" by Ralph Vaughan Williams, premiered in 1951. The radio version was newly recorded by Hyperion Records in 1990, in a performance conducted by Matthew Best. It again starred Gielgud, and featured Richard Pasco and Ursula Howells. English composer Ernest Austin set the whole story as a huge narrative tone poem for solo organ, with optional 6-part choir and narrator, lasting approximately 2½ hours. Under the"
"Alexander Young (tenor) Alexander Basil Young (18 October 19205 March 2000) was an English tenor who had an active career performing in concerts and operas from the late 1940s through the early 1970s. He was particularly admired for his performances in the operas of Handel, Mozart, and Rossini, notably the studio recording of Il pirata/ Vincenzo Bellini with Maria Callas and Monica Sinclair in 1961, Kingsway Hall, London (Walter Legge) In 1953 he performed the role of Tom Rakewell in the United Kingdom premiere of Stravinsky's ""The Rake's Progress"". After retiring from the stage, he served as the head of"
"Andrew Porter praised the conducting of Lovett and Trowell's production of ""The Rake's Progress"" while in ""A Tale of Two Cities"" Lovett was described as a ""born conductor of opera"", Besch's production was commended in the ""spirited and effective performance"". From 1957 to 1967 there was a close association between the New Opera Company and Sadler's Wells Opera with costume and scenery loans, assistance with technical equipment, and the engagement of singers. In the early 1970s the Arts Council considerably increased its grant, and the Greater London Council also gave funding. In 1971 Charles Mackerras and Anthony Besch joined the"
"at the Bayreuth Festival from 1960 to 1962. He created the roles of Nick Shadow in Stravinsky's ""The Rake's Progress"", Tarquinius in Britten's ""The Rape of Lucretia"", King Fisher in Michael Tippett's ""The Midsummer Marriage"", Diomede in Walton's ""Troilus and Cressida"", and the Sheriff in Gian Carlo Menotti's ""Martin's Lie"". He died in London. His name is mentioned in the Czech film ""Cosy Dens"" (1999) by Jirí Kodet (as Kraus). Otakar Kraus Otakar Kraus (10 December 1909 — 28 July 1980) was a Czech (later British), operatic baritone and teacher. He was born in Prague and studied there with Konrad"
"Russian Dmitri Shostakovich (""The Nose"", 1928 and ""Ledi Makbet Mtsenkovo Uyezda"" [Lady Macbeth of the Mtsensk District], 1932). At the same time, the neoclassicism that became fashionable in the 1920s is represented by Stravinsky's opera buffa ""Mavra"" (1922) and his opera-oratorio ""Oedipus Rex"" (1927). Later in the century his last opera, ""The Rake's Progress"" (1951), also marks the end of the neoclassical phase of his compositions. Other operas of this period by composers identified as neoclassicists include Paul Hindemith's ""Mathis der Maler"" (1938), Sergei Prokofiev's ""Voina y Mir"" (War and Peace, 1941–1943), Bohuslav Martinu's ""Julietta aneb snár"" (1937) and Francis"
"The Pilgrim's Progress (opera) The Pilgrim's Progress is an opera by Ralph Vaughan Williams, based on John Bunyan's allegory ""The Pilgrim's Progress"". The composer himself described the work as a 'Morality' rather than an opera. Nonetheless, he intended the work to be performed on stage, rather than in a church or cathedral. Vaughan Williams himself prepared the libretto, with interpolations from the Bible and also text from his second wife, Ursula Wood. His changes to the story included altering the name of the central character from 'Christian' to 'Pilgrim', so as to universalise the spiritual message. The musical gestation of"
"as the opera-oratorio ""Oedipus Rex"" and the ballets ""Apollo"" and ""Orpheus"", in which the neoclassicism took on an explicitly ""classical Grecian"" aura. Stravinsky's neoclassicism culminated in his opera ""The Rake's Progress"", with a libretto by W. H. Auden . Stravinskian neoclassicism was a decisive influence on the French composers Darius Milhaud, Francis Poulenc, and Arthur Honegger, as well as on Bohuslav Martinů, who revived the Baroque concerto grosso form in his works . ""Pulcinella"", as a subcategory of rearrangement of existing Baroque compositions, spawned a number of similar works, including Alfredo Casella's ""Scarlattiana"" (1927), Poulenc's ""Suite Française"", Ottorino Respighi's ""Antiche"