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The Rake's progress by Igor Stravinsky : the role of Anne Trulove Acton, Sharon 1987

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THE RAKE'S PROGRESS BY IGOR STRAVINSKY THE ROLE OF ANNE TRULOVE BY SHARON ACTON B.MUS., The University of Western Ontario, 1983 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC(OPERA) in THE FACULTY OF GRADUATE STUDIES The School of Music We accept t h i s thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May 1987 (c) Sharon Acton, 1987 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of fHlcS I P The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 DE-6(3/81) UBC School of Music Presents The UBC OPERA THEATRE in IGOR STRAVINSKY'S 3 Act Opera in its WEST COAST PREMIERE Conducted and Directed by French Tickner with the UBC Symphony and Opera Chorus March 24, 25, 27 and 28-UBC Auditorium 8:00 pm Curtain CAST ANNE TRULOVE . . . TOM RAKEWELl . . . FATHER TRULOVE . NICK SHADOW . . . . BABA THE TURK . . MOTHER GOOSE . . . SELLEM KEEPER OF BEDLAM . . . Sharon Acton Joanne Hounsel1 * B l a i n e Hendsbee David S h e f s i e k * Paul Nash James Sch ieb le r . . Wendy N ie lsen Mar i l yn Gronsdal . . . A l l a n Marter Sean Balders tone The a c t i o n takes p lace i n E igh teenth Century England - SCENES -Act I. Scene 1. Garden of T ru l ove ' s house. A Spr ing a f te rnoon. Scene 2 . Mother Goose's B r o t h e l . London, Even ing . Scene 3 . T ru l ove ' s Garden. An Autumn n i g h t . Act I I . Scene 1. Morning room of Tom's house, London. Scene 2 . S t reet in f ron t of Tom's house. London, Autumn, Dusk. Scene 3 . Morning room of Tom's house, some weeks l a t e r . Act I I I . Scene 1. Morning room of Tom's house. S p r i n g , A f te rnoon. Scene 2 . A ru ined churchyard . A s t a r l e s s n i g h t . Scene 3 . Bedlam (Bethlehem Mental H o s p i t a l ) , London. In te rmiss ion between ac ts I & I I , II & I I I . By permiss ion of Copyr ight owners, Boosey and Hawkes (Canada) L t d . Whores and Roaring Boys, S e r v a n t s , C i t i z e n s o f London and Madmen are drawn from THE OPERA CHORUS Sharon Ac ton , Chorus Master Sean Balders tone Sue Banning C o l i n de Bourc ie r Maggie Brockington Peter Farquharson Paul Fes te r Andrew Hi 11 house Magdalena Kass i s Dorothea Lakowski Lou ise Leroux Debbie M c N e i l l y Helene PrSvos t Marnie Setka J i l l Sparrow Stan Thomson E l l e n Ves te rda l Melan ie Whyte E t o i n Sch rd lu • i n d i c a t e s performances March 25 and 28 SUPERNUMERARIES Brian Day Glen Kerr Al Sirk Steve Wellenbrink UBC ORCHESTRA VIOLINS I Cameron Wilson, concert master Toni Marr Sandra Fiddes Amy Levinson Anita Molaro Mary Harris Cheryl Shizgal VIOLINS II Terry Doerkson, principal Ton Larson Rafael Scholermann Audra Ayaltin Laurie Townsend David Glavina E-Sinn Soong VIOLAS Chris Sandvoss, principal Lisa Moody Karen Opgenorth Chris Foley Al ice Waterman CELLOS Mary Stein, principal Sherril Pauls Aurelie Tu Leah Wyber Brian Mix Lee-Ann Pinder BASSES George Koenig, principal Robert Haynes Robert Dyck Steven Kooyman FLUTES Marlis MacAulay, principal Soiban Johnson OBOES Carrie Riches, principal Sandy Thacker (+ Enci. hrn) CLARINETS Ray Horst, principal Lynn Price BASSOONS Linda Kaastra, principal Isaac Bull (Dbl. Bsn.) TRUMPETS David Shaw, principal Gareth Jones HORNS Carl a Hal let t , principal Tai-Ning Chang PERCUSSION Alan Hetherington HARPSICHORD Richard Epp Ruth Enns 4 PRODUCTION STAFF Director French Tickner Assoc. Music Director Richard Epp Repetiteur Ruth Enns Technical Director James Schiebler Scenic Desiqn William Rasmussen Lighting James Schiebler Wendy Nielsen Costumes Wiluya Stage Manager Sara Jane Biles Scenic Artists Siobhan Ryan Lisa Freedman Bread Machine Sherry Milne Make-up Cynthia Johnston Wigs Terry Kuzyk Hair Stylist Elke Englicht Construction Assistants Sean Balderstone Bill Biles Spencer Hutchins Costume Assistants Louise Leroux Debbie McNeilly Dorothea Lakowski Properties Assistants Sharon Acton Joanne Hounsell Helene Prevost Marnie Setka Publicity Marilyn Gronsdal Wendy Nielsen The UBC Opera Theatre gratefully acknowledges the assitance of the Frederick Wood Theatre, The Playhouse Theare Company, and Raymonds Hair Salon One. The Rake's Progress S Y N O P S I S ACT I S C E N E 1: The garden of Trulove's country home. After a short fanfare prelude, we find Tom Rake-well wooing Anne in one corner of the garden while her father, in another, voices his fears that his prospective son-in-law may not make a very steady provider. With Anne gone into the house, Trulove tells Tom that a good position in business has been secured for him in Loudon. Tom refuses the offer,, and Trulove, angrily departing, tells him that though he is willing for Anne to marry a poor man, he will not tolerate a lazy one. Tom then has an aria ("Since it is not by merit we rise or we fall") vigorously announcing that he intends to rely on the " m l d f S J i of good luck. At the end, however, he wishes that he had some present money. At once the Mephistophelean character of Nick Shadow, in the <;uise of a servant, appears at the gate and asks for Tom Uakewell. Trulove and Anne are summoned, 11 iid Nick announces that a forgotten uncle has left Tom a fortune. In the quartet that follows, only Trulove is unenthu.sia.stie. He fears that au unearned fortune muy inspire idleness. It is necessary, soys Kick, that Tom should go to Loudon to settle the business, and he offers himself as a servant, wages to be settled in a year and a day. (The Mephistophelean character of Nick now becomes completely clear to all readers of Faust.) And as Tom goes out the gate, Kick turns to the audience and announces, 4'The progress of a rake begins!" S C E N E 2: The brothel of Mother Qoote in London. A vigorous chorus in praise of their respective activ-ities is sung by whores and roaring boys (roaring boys being upper-class roisterers, also known as "Mohocks" in eight tenth-century London). Nick introduces Tom to this company and gets him to recite a sort of litany of evil he has already been taught. He stumbles, however, when it comes to defining love; but when he wishes to leave because it is getting late, Kick sets back the clock, the merri-ment begins anew, and Tom sings an aria recalling his vows of love to Anne. Mother Goose, however, will have none of this, and she leads the young man off to her own room. The scene ends gutly as the b a u d s and roaring boys sing " Lanterloo." S I K N C 3: The garden of Trulove's country home. Anne has not heard a word from Tom and misses him badly. She sings a formal recitative and aria ubout it; her father calls from the house; and Anne, deciding her lover needs her more than her father d o e s , d e c i d e * to go to Loudon and tells us so in a brilliant cabaletta—that is, a sort of second and inure brilliant aria thut in old-fashioned Italian opera was often attached to the first aria after some wirt of interruption leading to a decision or a change of mind. ACT II S C E N E 1: Tom's quarters in London. At breakfast by himself Tom bemoans the fact that he is not liking London and that he does not even dare think about the girl he has left. At the words "I wish I were happy," Nick Shadow appears and shows him a broadside of a circus starring Daba the Turk, a beurded lady. In a sinister aria, Nick teaches Tom to forget crippling things like a conscience and ordi-nary appetites. What a wonderful idea it would be for Tom to marry Baba 1 Tom looks at the broadside again, laughs, and agrees that with Kick's help he will marry the creature. S C E N E 2: Outside Tom't London house. Anne, who has come to London to persuade Tom to come back to the country, sings an aria about it, but observes servants beginning to carry alt sorts of packages into the house. A sedan chair is drawn in, and from it steps Tom. He begs Anne to go home again, for he is not worthy of her. As if to corroborate that judg-ment, a veiled head is stuck out of the sedan chair to ask what is holding everything up. Tom haa to inform Anne that this is his bride being brought to her home—Baba the Turk. A trio develops as Anne and Tom sing of their regrets over what might have been and Baba expresses her extreme impatience. Finally Anne leaves, Tom helps Baba from the chair, and a congratulatory crowd that has gathered is delighted when Baba removes her veil and shows her beard. S C E N E 3: A room in Tom's house. Again Tom is unhappy at breakfast as his hirsute bride jabbers away about all the peculiar odds and ends she haa scattered around the once tidy quarters—stuffed birds, china, cheap jewelry from any* and every-where. When Tom remains not only uninterested but bored, she flies into a rage, smashes all the cheaper stuff, and starts what might be called a tantrum aria. In the middle of a line Tom stuffs his own wig into her mouth, covering her face, und utterly miser-able, he goes to sleep. Kick now comes in silently, carrying a peculiar contraption into which he puts a bit of broken china slid a loaf of bread, turns the handle, and linn the brrnd alone emerge, Tom uwukcus and tells Kick he IIIIN dreamed lliut he invented a machine which could turn stone to bread and be a boon to suffering mankind. Nick, of conn*', hus the machine right there, and Tom mnkes it "work." Kick suggests that there is u fortune to be made—but hadn't Tom better tell his wife? "My wife?" says Tom. "I have no wife. I've buried her." Baba is still silent behind his wtg. A C T III S C E N E 1: A room in Tom's house. It is months later, and a crowd is present awaiting the auctioning off of everything in the room. Baba sits there with Tom's wig still covering her face, and Anne is desperately searching for Tom and getting help from no one. Now Sellem the auctioneer enters and begins to sell off everything to a silly waltz tune—an aulc, a pike, a palm—and then, sinking almost to a whisper, he puts up "an unknown object . . . a cakef an organ! an apple treef" As the bidding rises, he snatches the wig from the "object," which turns out to be Baba. She finishes the phrase that Tom had choked off and, dominating the whole amazed crowd, advises Anne to find and reform Tom and tells the rest that she is going back to the circus and they'll have to pay to see her the next time. Off stage Tom and Nick are heard singing, and in the grand finale Anne re-iterates, "I go, I go, I go, I go to him." Baba orders Sellem to fetch her carriage. S C E N E 2: A graveyard. A few measures of weird music for only four siring instruments set the super-natural tone of the scene. Nick Shadow tells Tom that he has now served him for a year and a day and dt*mauds payment—Tom's soul. Yet, always the sporting gentleman, the Devil offers to bet the stakes on a game of cards. As, off stage, Anne sings of the power of (rue love, Tom wins three times running, ln a ruge Nick strikes Tom insane, and then sinks into the grave he had intended for Tom. The lights go down, and when they come up again, Torn is sitting on the mound of the grave, completely out of his mind. He puts grass on his head, thinking it roses, and sings a ballad, calling himself "Adonis." S C E N E 3: Bedlam, the lunatic asylum. Incarcerated with other niAdraen, Tom still thinks he is Adonis und demands that the others prepare for his wed-ding to Wnuu. They jivr at him till the jailer brings in A mil*. A touchi»£ low duct follows, and at its CIUKP, Anne leads the exhausted Torn lo u straw pallet and sings him a tender lullaby. Trulove comes to take Anne away, and they both bid the sleeper a farewell. Now Tom awakens, raves wildly about Venus, who has just left him, but he cannot persuade his fellows that Venus was there at all. Hopelessly he sinks back on his pullet and dies. E P I L O G U E Before the curtain. The quintet of principals— Tom, Nick, Daba and the two Truloves— address the audience with the moral of the tale: For idle hand* and hearts and minds The Devil finds a work to do. 


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