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Very well done 'Ariadne'
Have always loved Richard Strauss' music (especially 'Four Last Songs'), and while 'Der Rosenkavalier' is my favourite of his operas because of the absolutely out of this world final trio there is a lot of fondness had for 'Ariadne Auf Naxos'. With it being one of the first operas this reviewer ever saw, seeing it at the Royal Opera House for my sixteenth birthday being a very memorable evening. Have been a loyal regular viewer of live cinema broadcasts of opera, ballet and theatre, so there was no chance of missing this.
On the whole, this 'Ariadne Auf Naxos' was very well done and as far as the 2021-2022 season goes it is one of the better productions and a big step up from the disappointing 'Rigoletto'. There are more good things than not so good things, and many of the good things are outstanding. What made it short of greatness was one performance not being up to the demands of the role and one of the best parts of the opera not being very well executed, all of this will be elaborated upon later on in the review.
Beginning with the good things, Lise Davidsen is an absolute marvel in the title role. It's wonderful to hear a Strauss soprano role being sung so warmly and musically with beautiful approaches to high notes and legato, with no histrionics, scooping or shrillness and few intonation issues, all present here. Particularly soaring in the final scene. Add to that very sincere acting that is never hammy or disengaged, that is classy and poignant while also relishing the prima donna side (the disdain stinging). Isobel Leonard is a forceful and moving Composer, and sings with a lot of richness in the middle register (personally thought she was fine at the top).
Brandon Jovanovich takes a noble stab at the thankless role of Bacchus, a role that has very rarely been nailed. He acts heroically and passionately and mostly sings with strong ring, despite sounding strained and like he was pushing for sound in the louder parts later on. The rest of the male cast are on fine form too, Wolfgang Brendel is a hilariously pompous Major Domo, his way of speaking wonderfully rhythmic, and Johannes Martin Kranzle sings resonantly and with impeccable comic timing as the Music Master. The comedian troupe characterise beautifully and seem to be enjoying themselves, while Tamara Mumford is particularly good of the Nymphs (whose role is very dangerously physical in this production but never did they seem phased).
Marek Jankowski conducts sympathetically, especially at one with Davidsen, yet also with passion and class. The orchestra play with ravishing tone throughout and there were stunning colours and details galore. Their playing in the finale is some of the best orchestral playing that season and took me to another planet. It is a beautiful looking production as well, Davidsen is an absolute vision in her costuming and the mysterious blue backdrop was very striking. Another highlight visually was the sight of the Nymphs on stilts. All the staging compels and never did it feel distasteful, while allowing the comedian troupe plenty of comic freedom which is played broadly but never to vulgar degrees. The prologue and finale are especially well staged, with Ariadne's disdain for Zerbinetta and the rivalry being particularly well brought out.
Was however disappointed by Brenda Rae. Dramatically her Zerbinetta is spot on, delightfully coquettish, very charming and with hilarious comic timing. Vocally, her performance is very inconsistent, she is fine in the prologue and in some ensembles but on the whole she was not up to the demands of the fiendishly challenging music. Didn't really warm to her voice, which tended to be grainy and shrill and with too many laboured high notes.
This is most evident in her big aria (which started off in the more lyrical first section but falls apart when the aria becomes more virtuosic), one of the absolute highlights of the operas that sadly turned out to be the production's weak link. Mainly down to Rae being clearly taxed by the music, with a lack of agility in the runs and a lot of straining and flatness. But also because the scene felt very disjointed, even the very kinetic physical work couldn't save the lack of momentum, the lack of cohesion and that it all felt very saving yourself dress rehearsal-like.
Overall though, very well done. Davidsen is one to watch. 8/10.
On the whole, this 'Ariadne Auf Naxos' was very well done and as far as the 2021-2022 season goes it is one of the better productions and a big step up from the disappointing 'Rigoletto'. There are more good things than not so good things, and many of the good things are outstanding. What made it short of greatness was one performance not being up to the demands of the role and one of the best parts of the opera not being very well executed, all of this will be elaborated upon later on in the review.
Beginning with the good things, Lise Davidsen is an absolute marvel in the title role. It's wonderful to hear a Strauss soprano role being sung so warmly and musically with beautiful approaches to high notes and legato, with no histrionics, scooping or shrillness and few intonation issues, all present here. Particularly soaring in the final scene. Add to that very sincere acting that is never hammy or disengaged, that is classy and poignant while also relishing the prima donna side (the disdain stinging). Isobel Leonard is a forceful and moving Composer, and sings with a lot of richness in the middle register (personally thought she was fine at the top).
Brandon Jovanovich takes a noble stab at the thankless role of Bacchus, a role that has very rarely been nailed. He acts heroically and passionately and mostly sings with strong ring, despite sounding strained and like he was pushing for sound in the louder parts later on. The rest of the male cast are on fine form too, Wolfgang Brendel is a hilariously pompous Major Domo, his way of speaking wonderfully rhythmic, and Johannes Martin Kranzle sings resonantly and with impeccable comic timing as the Music Master. The comedian troupe characterise beautifully and seem to be enjoying themselves, while Tamara Mumford is particularly good of the Nymphs (whose role is very dangerously physical in this production but never did they seem phased).
Marek Jankowski conducts sympathetically, especially at one with Davidsen, yet also with passion and class. The orchestra play with ravishing tone throughout and there were stunning colours and details galore. Their playing in the finale is some of the best orchestral playing that season and took me to another planet. It is a beautiful looking production as well, Davidsen is an absolute vision in her costuming and the mysterious blue backdrop was very striking. Another highlight visually was the sight of the Nymphs on stilts. All the staging compels and never did it feel distasteful, while allowing the comedian troupe plenty of comic freedom which is played broadly but never to vulgar degrees. The prologue and finale are especially well staged, with Ariadne's disdain for Zerbinetta and the rivalry being particularly well brought out.
Was however disappointed by Brenda Rae. Dramatically her Zerbinetta is spot on, delightfully coquettish, very charming and with hilarious comic timing. Vocally, her performance is very inconsistent, she is fine in the prologue and in some ensembles but on the whole she was not up to the demands of the fiendishly challenging music. Didn't really warm to her voice, which tended to be grainy and shrill and with too many laboured high notes.
This is most evident in her big aria (which started off in the more lyrical first section but falls apart when the aria becomes more virtuosic), one of the absolute highlights of the operas that sadly turned out to be the production's weak link. Mainly down to Rae being clearly taxed by the music, with a lack of agility in the runs and a lot of straining and flatness. But also because the scene felt very disjointed, even the very kinetic physical work couldn't save the lack of momentum, the lack of cohesion and that it all felt very saving yourself dress rehearsal-like.
Overall though, very well done. Davidsen is one to watch. 8/10.
helpful•80
- TheLittleSongbird
- Feb 20, 2023
Details
- Runtime3 hours 5 minutes
- Color
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