At the first opportunity, he abandons her. He leads a debauched life, marries another and ends up in the madhouse. Yet Anne Truelove continues to love Tom Rakewell, the protagonist in The Rake's Progress. The National Opera will present its fourth production of Stravinsky's opera, in collaboration with Aix-en-Provence. The premiere took place there last July. The vocal cast remained the same, with young American soprano Julia Bullock in the role of Anne. Bullock: 'Anne faces her emotions, learns from them and moves on. She is a very mature woman.'
Anyone reading the libretto by W.H. Auden and Chester Kallman wonders in bewilderment what on earth Anne sees in the slacker Tom. Julia Bullock laughs exuberantly, but then chooses her words carefully. 'Tom is an intelligent, ambitious and warm person, Anne is drawn to his energy, his vitality. Already the opening scene offers several force fields, but most important is the dynamic between Tom and Anne. They express their mutual love. And whatever that might mean exactly, it has to come across as genuine and real.'
Sincere love
Tom is a faithless debaucher who allows himself to be seduced by Nick Shadow into a life of debauchery. But Bullock won't condemn him without pardon. 'He is someone with great ambitions who is given the chance to fulfil them. When you have every conceivable opportunity thrown into your lap it brings with it quite a few temptations. This is true for everyone, only some can deal with this better than others. Tom is less stable and confident than Anne, but I don't believe she is trying to save him.'
'I think it is important to convey that their love affair does run deep. Their concern for each other is genuine: despite the unholy path he is taking, she remains faithful to him.' Anne's behaviour made Bullock think about her own life: 'I myself am newly engaged. If Christian and I were to go through a difficult time, or even break up, I would want to be there for him nonetheless.'
The soprano finds a new challenge in every piece. 'I learn from every composer, just as I learn from any character I perform. Anne is a remarkable person. She copes with the many difficult personalities and situations that come her way. Moreover, she has the gift of constantly growing her compassion and love. Anne is by no means a silly brat, but a mature and thoughtful human being.'
Authenticity
Again, Bullock's infectious laughter echoes through the room: 'It's refreshing to have to exercise that muscle in myself while we work on this play. Especially also because of the way director Simon McBurney works, close to your skin. That sometimes leads to tensions, but there is great mutual respect. He might be cursing at us at home, but I don't notice that. Regularly I shout: this is not going to work! Then we always find a solution. Simon has been a performer himself and takes you step by step through your character's character.'
'As for Anne, of course she has intense and also negative feelings. Sometimes she is extremely angry, bitter or deeply sad. Simon helps me shape all those layers emotionally, psychologically and physically. In doing so, he strives for authenticity; it should never be contrived. This is how I learn to internalise my character and make contact with the Anne inside me. She is able to allow strong emotions; she learns from them and moves on. Tom, on the other hand, carries event after event with him. I think that is also what haunts him and eventually drives him to madness. If you can't let go of a trauma you start disconnecting from yourself. Otherwise, it becomes unbearable.'
Self-insight
Tom imagines himself to be Adonis and ends up in the madhouse. Anne initially goes along with this, pretending to be Venus, but then leaves him alone anyway. Does she opt for herself after all? Bullock: 'You could see it that way, but on the other hand, what could she do? As important as her presence is to him, in Tom's new world Anne remains a fringe character. While it is enticing to be part of their love story again, he is in a place where she cannot follow him. It is again a testament to her maturity that she faces this.'
What development is Tom actually going through? After all, the title of the opera is The Rake's Progress. 'You should actually ask Paul Appleby, who sings his part,' says Bullock as she thoughtfully ruffles her curly hair. 'For me, that progression lies in a form of self-understanding. Tom reaches a point where he sees who he was, what he wanted to achieve and where he ended up.'
'All his life he wanted to occupy an exalted place, hence that delusion of those gods. But a man cannot function in such a world. Towards the end, Tom increasingly comes to that realisation. He is not totally lost, but accepts the reality of his life. You can also hear this in the music, which ends calmly and simply. Tom is finally at peace with where he is, he no longer struggles.'
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