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Having opened the festival Thursday night in Libbey Bowl conducting Stravinsky’s opera “The Rake’s Progress,” the first full-length opera production ever attempted by the festival, Hannigan was the emotionally gripping soprano soloist in Schoenberg’s trailblazing Friday night.

The project began in 2008 at the Theater an der Wien, in Vienna, with Stravinsky’s “Rake’s Progress,” the first 20th-century opera in Mr. Harnoncourt’s career.

From Mozart's Don Giovanni to Stravinsky's The Rake's Progress, the figure of the libertine, that politically incorrect swine, has swaggered provocatively through 200 years of operatic history.

Rehearsing the part of Anne Trulove in Washington's Opera Society production of Stravinsky's The Rake's Progress, the soprano was felled by a virus; she left the role to Baltimore's Phyllis Frankel, a singer who studied for an operatic career with famed Soprano Rosa Ponselle, has appeared with New York City Opera.

Except in one instance, where in the mad-house scene in the Rake's Progress, the girl whom he has ruined is represented as still tending and weeping over him in his insanity, a glimpse of pity for his rogues never seems to enter honest Hogarth's mind.