Des Moines Metro Opera has advanced its record for excellence with a musically resplendent, visually rich, wholly riveting production of Stravinsky’s multi-faceted piece, The Rake’s Progress.
The glories in store for the evening were immediately apparent from the downbeat, with conductor Christopher Allen leading a superb group of musicians. The orchestra is really another character(s) in the story and Maestro Allen inspired them to provide telling commentary that underscored every moment, pacing it flawlessly. The precise, colorful execution of the ensemble work was balanced with virtuosic solo moments, not least of which was the impeccable trumpet work from Gianluca Farina. This was world class playing and the crowd deservedly lavished the band with the evening’s loudest ovation.
This high level musical achievement was matched on stage note for note, by a stellar cast that could not have been bettered. As Tom Rakewell, Jonas Hacker deployed his gleaming tenor to fine effect. His instrument has taken on more body and richness since last I heard him, and his solid technique showed even more polish, as he met every challenge of this daunting role. Moreover, Mr. Hacker cuts an appealing, youthful figure and is an actor capable of the wide-ranging journey that Tom must take. A masterful achievement.
Joélle Harvey was also utter perfection as the loyal fiancée, Ann Trulove. Her limpid, radiant soprano glowed with charm and poise. Since last I heard Ms. Harvey a number of years ago, her voice has matured greatly in size and color, and her amazing technique allowed for astonishing vocal effects, including flawless ornamentation, jaw-dropping messa di voce effects, and just plain thrilling singing at full volume. She is totally believable as a petite young woman in love, and her steadfast devotion to Tom was heartbreaking, especially in her final sotto voce solo to Tom, which was so hushed and haunting we scarcely dared to breathe. There is no one in the world singing this role better.
Equally well matched to his assignment, the orotund bass-baritone Sam Carl seemed born to play the malevolently charming Nick Shadow. While his voluminous, dark sound has the power to shake the rafters, Mr. Carl displays an awesome range of colors and nuance. He balances the powerful, ride-the-orchestra moments with an impish, seductive naughtiness that nevertheless has a menacing subtext. A towering portrayal.
This luxurious casting continued into supporting roles as well. As Baba the Turk, mezzo-soprano Vivica Genaux was an unusually stylish figure, both visually and vocally. Her Baba was not the overly comic and blustery take that is sometimes seen, but rather a svelte glamour queen, with a lavish, refulgent tone and imperious delivery. Ms. Genaux’ commanding dispatch of “The next time you see Baba, you must pay” was the perfect final punctuation to her captivating portrayal. Young Todd F. Moeller was button cute as Baba’s mute attendant.
Contralto Meredith Arwady made a potent impression as the frisky brothel keeper, Mother Goose. Ms. Arwady has one of the most profoundly forceful lower registers in the business and she relished pinning our ears back when required, but also vocalized with frolicsome ill-intent as she bounded all over the staff with consummate ease. Her salacious domination of Tom was one of the evening’s comic delights.
Matt Boehler has become a DMMO favorite, and it is easy to see why. His winning stage presence was in full service to delivering a well-rounded , doting Father Trulove, and his mellifluous bass was warmly empathetic. Christian Sanders was the manic, gesticulating auctioneer, Sellem, showing off an animated, pointed and well-controlled tenor. Apprentice Artist Joseph Park’s secure, warm bass-baritone shone in his brief moments as the Keeper of the Madhouse.
The chorus, made up of other Frank R. Brownell III Apprentice Artists, and meticulously prepared by Lisa Hasson, was simply stunning in their vocal allure, articulation, and dramatic focus. Starvinsky, Auden and Kallman use them most often as a Greek Chorus, providing commentary and insight, and this group went from strength to strength all evening long, with the scattershot “bidding” in the auction scene being particularly exciting.
Chas Rader-Schieber has directed with his usual sure hand, demonstrating that he knows how to maximize the effective use of this unique playing space with its thrust stage. He was admirably adept at keeping the character relationships honest and impactful, which was enormously compelling as Tom descended inexorably into decay and madness. The final scenes were nearly unbearable in their pathos. There is no hiding place in this intimate venue, for the performers or the audience, and the emotional connection between us was shattering.
I won’t spoil how Mr. Rader-Schieber approached the sprightly “moral” at opera’s end, but it was a delight and a surprise. If I had one wish for the production it would be that there would have been better considered visual ‘buttons” to the ends of certain set pieces that would have discouraged applause until the orchestral playoffs were finished. Too, the trapdoor’s descent with Shadow cursing Tom seemed “just” too fast for that momentous happening.
The design team upheld DMMO’s renowned standard to a person. Robert Pedziola’s evocative, haunting sets were perfectly complemented by his ravishing, fanciful array of costumes. Finishing off the actors’ looks, Brittany V.A. Rappise contributed a dazzling wig and make-up design that was picture perfect. The opera calls for various locations, and Mr. Pedziola devised a brooding unit space that was dressed and re-dressed with movable arches, furniture and set pieces.
Costumed stagehands accomplished the various moves with admirable precision. I especially liked the transformation of oversized picture frames from the auction into graves in the graveyard scene. Such simplicity, but utterly magical. The icing on the cake was Connie Yun’s wondrous lighting design, that was moody and brooding one moment and gay and festive the next. Her use of isolated specials was highly effective, and the numerous cross fades were deftly handled.
The Rake’s Progress is not a bread and butter opera, but rather delectable caviar, which Des Moines Metro Opera has served up in a festival quality performance of the highest artistic standards.
James Sohre
The Rake’s Progress
Music by Igor Stravinsky
Libretto by W.H. Auden and Chester Kallman
Anne Trulove: Joélle Harvey; Tom Rakewell: Jonas Hacker; Father Trulove: Matt Boehler; Nick Shadow: Sam Carl; Mother Goose: Meredith Arwady; Baba the Turk: Vivica Genaux; Sellem: Christian Sanders; Keeper of the Madhouse: Joseph Park; Solo Voice: Noah Mond; Baba’s Attendant: Todd F. Moeller;
Conductor: Christopher Allen; Director: Chas Rader-Schieber; Scenic and Costume Design: Robert Perdziola; Lighting Design: Connie Yun; Chorus Director: Lisa Hasson; Choreographer: Isaac Martin Lerner; Wig and Make-up Design: Brittany V.A. Rappise
Top image: Joélle Harvey (Anne Trulove) and Jonas Hacker (Tom Rakewell)
All photos by Cory Weaver