STRAUSS Ariadne auf Naxos - Arthaus 107249 [WK]: Classical Music Reviews

Hofmannsthal ‘s original concept for the opera Ariadne auf Naxos was as a half-hour addition to his version of Moliere’s Bourgeois Gentilhomme, with Monsieur Jourdain commanding a group of Italian players and an opera company to perform simultaneously. This version did not work out, but the idea of an opera about Ariadne with both classical and commedia dell’arte characters remained with Strauss and Hofmannsthal. Eventually, after four years they produced their definitive version of this idea - see the fascinating correspondence between the two. In this we have a Vorspiel in which the two groups of players, once they have gotten over the shock of having to perform together, debate questions of art and life. During the opera proper Ariadne, supported by the commedia dell’arte characters, longs for death after her abandonment by Theseus. She is eventually rescued and transformed by Bacchus.

The staging in this production is slightly unusual in that the Vorspiel is enacted before a set of very heavy curtains and no other props, while the opera itself takes place in a reproduction of Zurich’s famous Kronenhalle Restaurant. The curtains do well for the characters of the Vorspiel but the restaurant setting that follows provides a number of staging problems. Even today certain emotions and actions seem out of place in a restaurant.

In the role of the Komponist Michelle Breedt is very convincing both vocally and dramatically, though she is given some unreal stage business to do. Emily Magee as Ariadne is also convincing, but occasionally loses vocal control, although by the time she sings the famous “Es gibt ein Reich” this is no longer a problem. Roberto Saccà did not have the ideal voice for the role of Bacchus but his performance was appropriately forceful and commanding overall. Both he and Ms. Magee are superlative in the final scenes of the opera. The star of the show is Elena Moşuc as Zerbinetta, a role that she plays with a mixture of whimsy and seriousness that is quite convincing, while simultaneously negotiating all the vocal difficulties of her part. Lesser roles in the cast are variably handled, but the Najade, Dryade, Echo trio are a joy to watch as they deal with the varying stage requirements.

I had never really thought of Christoph von Dohnányi as a Straussian, but here he shows a complete mastery of the Strauss idiom and an almost unparalleled understanding of the importance of the small orchestra required by Ariadne. His is a performance of more heft than the version by Sinopoli (see review), more reminiscent of the Solti recording or the live Böhm. As regards the orchestra, the first horn and several of the woodwinds of the Zurich Opera should be commended, although the sound quality of this disc does not always serve them well. Overall, the visuals present no major problems, although this production was originally for television. This is a Region “0” release of a DVD previously available in North America (also on Blu-ray). One can warmly endorse this DVD musically, if not scenically, but the deciding factor would have to be Dohnányi’s overall conception and his firm command of the score.

William Kreindler

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