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The Rake's
Progress

Illustrasjon av mann med grønt ansikt, og skikkelser som kommer ut av hodet hans Photo: Stig Håvard Dirdal
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Running
24. September–​8. October
Venue
Main Stage
Duration
3 h 15 min / incl. 1 break

A Devilish Rollercoaster Ride

Everything goes to hell when Vidar Magnussen’s interpretation of The Rake’s Progress returns to the Main Stage.

Colouring Stravinsky 

In recent years, Vidar Magnussen has established himself as a critically acclaimed opera director at the Oslo Opera House in Bjørvika. When he brought colour to Stravinsky’s The Rake’s Progress in 2024, it earned critical acclaim, a Hedda Award nomination – and even a mini-series on NRK. 

Now the success returns, with Thomas Atkins, Clara Thomsen, Aleksander Nohr, Astrid Nordstad and Jens‑Erik Aasbø among those taking to the stage. 

Feel free to throw more operas in Vidar Magnussen’s direction.

– Hild Borchgrevink, Dagsavisen 

Pact with the devil 

This is the story of how badly things can go when someone gains a lot of money – and meets no resistance. Tom Rakewell learns this the hard way. He is madly in love with the kind‑hearted Anne Trulove, but there’s a hitch – her father wants Tom to have a job, but Tom feels he is not cut out for a life of drudgery! 

Fortunately, the diabolical Nick Shadow shows up and announces an opportune money inheritance from an obscure uncle. It seems too good to be true, but Tom is tempted all the same. 

Soon, Nick Shadow draws him into a journey that takes him ever further away from Anne. For what does a faithful lover matter when a bearded woman suddenly seems irresistible – and a machine that turns stones into breadpromises to solve all problems? 

This is highquality art with great entertainment value.

– Ola Nordal, Klassisk Musikk 

Absurd chamber of horrors 

Director Vidar Magnussen has returned to the Oslo Opera House to toy with our perceptions of reality in this horror show of a performance. He takes us inside Tom Rakewell’s head on a wild journey from riches and a life of luxury to poverty and insanity. 

Magnussen debuted as an opera director with Orpheus in the Underworld in 2021, which also returns to the programme in 2026. In his encounter with Stravinsky’s opera, he creates a darker universe in the form of an absurd, burlesque fantasy world with an aesthetic inspired by the 1950s and 60s. 

The richness of detail in the direction of The Rake’s Progress is astonishing. 


– Sunniva Thomassen, Vårt Land 

Mozart through a funhouse mirror 

Igor Stravinsky wrote The Rake’s Progress in 1951, based on eight satirical paintings by William Hogarth. Stravinsky was one of the most prominent composers of the 20th century and can best be described as a sort of hipster composer who turned conventional music upside down and shamelessly borrowed from other operas and composers. 

As an opera composer, Stravinsky wanted to follow in the footsteps of Mozart. The music in his only completed opera is a collision between tradition and anarchy, reminiscent of both Mozart and Beethoven – and distorted through a funhouse mirror. 

Free introduction in Norwegian one hour before the performance

Handling

Tom Rakewell is madly in love with Anne Trulove, but refuses to find a job to support her. The diabolical Nick Shadow appears with promises of a secret inheritance, and takes Tom on a fateful journey. Tom entangles himself further and further in the web of madness.

Tom Rakewell is courting Anne Trulove outside her father's house in the country. Father Trulove has doubts about his daughter's proposed marriage and tries to arrange a regular job for Tom; but Tom resists the idea and, left on his own, declares his intention to "live by my wits and trust to my luck." When Tom expresses his wish for money, Nick Shadow appears and tells him that an unknown uncle has left him a substantial fortune. He then invites Tom to employ him as a servant and accompany Tom to London to sort out the inheritance. 

The second scene, set in Mother Goose's brothel, shows Shadow introducing his new master to the sleazy aspects of London life. But Tom is uneasy and laments his betrayal of love, yet accepts Mother Goose's invitation to spend the night with her. Meanwhile, back in the country, Anne wonders why she has not heard from Tom. She knows somehow that he is in danger, and sets out for London to aid him. 

 

Tom is bored with his dissolute life. He utters his second crucial wish, for happiness, whereupon Nick makes the odd suggestion that he demonstrate his freedom by marrying Baba the Turk, the famous bearded lady. Soon afterwards Anne finds Tom's London house, only to see him emerge together with Baba, whom he has just married. Tom tells Anne to leave, yet genuinely regrets what has happened. 

In the next scene Tom is clearly finding his eccentric marriage intolerable, as Baba is a chatterbox with a fiery temper. He silences her with medication, then falls asleep. Nick enters with a "fantastic Baroque Machine" and hints that if such machines were mass-produced Tom could become a saviour of mankind and Tom sets out to market the machine, not knowing it is a sham. 

The plan has failed – the act starts with the auction of the ruined Tom's property by the maniac auctioneer Sellem. The objects for sale include Baba, who has remained immobile since being silenced. When unwrapped, she resumes her tantrum, now directed at the auction-goers, but calms down when Anne enters. Baba advises her to find Tom and "set him right", and warns her against Nick Shadow.  

In a graveyard, Nick reveals his identity and demands payment from Tom, in the form of his soul; but as midnight strikes, Nick offers him an escape in the form of a game of cards; this section is accompanied only by harpsichord. Tom wins, thanks to the benign influence of Anne. Defeated, Nick sinks into the ground, condemning Tom to insanity as he goes. Consigned to Bedlam, Tom believes he is Adonis. Anne ("Venus") visits him, sings him to sleep, then quietly leaves him. When he realises she has gone, he dies. 

In an epilogue, each of the principal characters gives a moral drawn from their scenes in the opera, and then come together to ascribe a final joint moral, "for idle hands, and hearts and minds, the Devil finds a work to do."

Artistic team and cast

  • Music
    Igor Stravinsky
  • Libretto
    W. H. Auden, Chester Kallman
  • Conductor
    Ben Glassberg
  • Director
    Vidar Magnussen
  • Set Design
    Gjermund Andresen
  • Costume design
    Christina Lovery
  • Lighting design
    Mathias Hersland
  • Choreography
    Stian Danielsen
  • Participants
    The Opera Chorus, The Opera Orchestra
    • Tom Rakewell
        • 24. Sep 2026 19:00
        • 26. Sep 2026 18:00
        • 30. Sep 2026 19:00
        • 3. Oct 2026 18:00
        • 6. Oct 2026 19:00
        • 8. Oct 2026 19:00
    • Ann Trulove
      • Clara Thomsen
        • 24. Sep 2026 19:00
        • 26. Sep 2026 18:00
        • 30. Sep 2026 19:00
        • 3. Oct 2026 18:00
        • 6. Oct 2026 19:00
        • 8. Oct 2026 19:00
    • Nick Shadow
        • 24. Sep 2026 19:00
        • 26. Sep 2026 18:00
        • 30. Sep 2026 19:00
        • 3. Oct 2026 18:00
        • 6. Oct 2026 19:00
        • 8. Oct 2026 19:00
    • Baba
        • 24. Sep 2026 19:00
        • 26. Sep 2026 18:00
        • 30. Sep 2026 19:00
        • 3. Oct 2026 18:00
        • 6. Oct 2026 19:00
        • 8. Oct 2026 19:00
    • Trulove
        • 24. Sep 2026 19:00
        • 26. Sep 2026 18:00
        • 30. Sep 2026 19:00
        • 3. Oct 2026 18:00
        • 6. Oct 2026 19:00
        • 8. Oct 2026 19:00
    • Sellem
        • 24. Sep 2026 19:00
        • 26. Sep 2026 18:00
        • 30. Sep 2026 19:00
        • 3. Oct 2026 18:00
        • 6. Oct 2026 19:00
        • 8. Oct 2026 19:00
    • Mother Goose
      • Cecilia Zhang
        • 24. Sep 2026 19:00
        • 26. Sep 2026 18:00
        • 30. Sep 2026 19:00
        • 3. Oct 2026 18:00
        • 6. Oct 2026 19:00
        • 8. Oct 2026 19:00
    • Keeper of the Madhouse
        • 24. Sep 2026 19:00
        • 26. Sep 2026 18:00
        • 30. Sep 2026 19:00
        • 3. Oct 2026 18:00
        • 6. Oct 2026 19:00
        • 8. Oct 2026 19:00
Price
195 - 895 kr
Language
engelsk
Subtitles
norsk og engelsk

Intermission refreshments

Avoid queues by pre-ordering your intermission refreshments. You can also order seated intermission service at Brasserie Opera. All pre-orders will be laid out and sorted alphabetically by the customer’s last name. Food and drink are not permitted in the auditorium during the performance.
Vinglass på en bardisk i Operaen Photo: Fursetgruppen