'Rake's Progress' Progressive

When two figures as imposing as Igor Stravinsky and W.H. Auden collaborate to produce a work of art, the result is bound to mesmerize. Yet “The Rake’s Progress,” a modern opera first performed in Venice in 1951, is seldom included in the repertoire of major companies due to the common but misguided perception that English opera is inferior to its Italian or German counterpart.

Over the past two weekends, the Dunster House Opera sought to correct this under-appreciation of Stravinksy’s work. Though the undertaking was an ambitious choice—the unorthodox rhythmic and harmonic elements of the music are particularly difficult—the company achieved a level of artistry not often seen within the realm of collegiate opera.

“The Rake’s Progress” presents a 20th-century adaptation of the Faust legend, which recounts the meteoric rise and fall of the hero Tom Rakewell, portrayed by James B. Onstad ’09. Rakewell’s fortunes are changed when he is approached by the diabolical Nick Shadow (Davone J. Tines ’09), who offers him three wishes in return for his soul.

Rakewell’s troubles lead him from a happy spring day in the countryside with his sweetheart Anne Trulove (Eva E.M. Schlitz ’09) to a climactic midnight cemetery scene and, eventually, to an insane asylum. Along the way stops are made in a brothel owned by Mother Goose and at Tom’s wedding to Baba the Turk (Sofia M. Selowsky ’12), London’s most renowned bearded lady.

While Auden’s libretto for the most part lacked the moroseness so typical of other renderings of the Faust legend, it stayed true to the deeply introspective nature of the story. Auden’s poetic mastery enabled the libretto to flourish where so many other English writers have failed—namely, in creating a language that lends itself to musical adaptation.

The comedic energy of the supporting roles propelled the plot forward between the tempestuous turns of fortune suffered by Onstad’s Tom. Among the cast members, Onstad gave a truly commanding performance.

Neither his dramatic composure nor the stellar quality of his singing wavered at any point during his portrayal. Schlitz’s dramatic presence was similarly striking, especially during her aria at the end of the first act. Her upper register rang out with a brilliance and clarity that was genuinely moving. Unfortunately, her lower register was lost at times amid the roar of the orchestra.

The supporting performances, sung by Tines and Selowsky, were also notable. Both illustrated a keen understanding of comedic timing and, when necessary, emotional sensitivity. Tines in particular shone in both his sotto-voce singing and his demonic fury during the graveyard scene.

The orchestra, under the direction of a very capable Yuga J. Cohler ’11, provided a solid foundation for the production. It was evident that the players as well as Cohler were intent on presenting a rhythmically precise performance, which proved to be no mean task.

Although there were some initial troubles settling into a rhythmic groove, by the end of the first act, conductor and orchestra were on the same page. Particularly impressive was the sensitivity with which the players navigated the harmonically difficult passages.

Perhaps the greatest asset of the production was its artistic direction under the leadership of Victoria J. Crutchfield ’10. The modern stage design and lighting provided settings with which Harvard students could easily identify: Onstad lamented the loss of his idyllic love while seated at a table covered with empty Solo cups and ping pong balls, several prostitutes passed out next to him.

And in a fitting final exit, after revealing his true identity as Satan to Tom and cursing him with insanity, Nick departs into the midst of the audience, eerily signaling that devil is amidst each of us. This exemplifies the artistic thesis espoused in the program notes by both the artistic and musical directors: “In this production we strove for an aesthetic which would reflect this theme of self-consciousness and the aesthetic self-consciousness of the piece.”