26 Aug 2008
“Ariadne auf Naxos” at Toronto Music Festival
“Only in the realm of the dead is everything pure.”
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
“Only in the realm of the dead is everything pure.”
In its third season, the Toronto Music Festival successfully produced Richard Strauss’ bi-parte opera-within-an-opera, Ariadne auf Naxos. Under the brilliant direction of Agnes Grossmann, also the festival’s artistic director, an assembly of talented young performers, and some more experienced ones illuminated the stage of the MacMillan Theatre for a few hours of dramatically exciting and expressively stimulating music.
Ariadne began as a joint project between Strauss and Hofmannsthal. Interestingly, the version that is now performed originated from three separate ideas. As a result, there are two extant versions: Ariadne I, in one act, to be performed after a German version of Molière’s Le Bourgeois Gentilhomme, and Ariadne II, in a prologue and one act. In this version, Hofmannsthal and Strauss combined the Ariadne myth with commedia dell’arte characters, juxtaposed with 18th Century operatic stereotypes.
Although, Ariadne herself was a point of obsession for Hofmannthstal, Strauss was equally focused on Zerbinetta, to whom he attributed a grand scena di coloratura, equitable to the pyrotechnics in Lucia’s Mad Scene. The original cast included Maria Jeritza as Ariadne, and Margarethe Siems as Zerbinetta. Equally enticing, however, is the young composer of the opera-within-the-opera. The Komponist’s intricate text and singing in the prologue is not only telling of Strauss’ personal connection to the character, but also lyrically masterful.
Melinda Delorme (Ariadne)
The TMF’s production began with a well-effected instrumental opening and intended musicality on the part of Maestra Grossmann and the National Academy Orchestra. She delicately controlled the voicing of the orchestra, and managed dynamic inflections and colorations with ease and precision. The dynamic thrusts that are elemental in Strauss where well handled and the orchestral palette was never compromised.
“Lonely Island Resort,” inscribed on large lettering facing the back of the stage, and a resort lobby complete with a front desk, vacationing guests, and a circulating revolving door, set the stage for the prologue. The first scene lent itself to some fine singing by baritone, Gene Wu, who produced good tone and well-inflected accento puro. The diction coach for this production was Adi Braun, whose authentic instruction faired well on the singers. The stage director, Titus Hollweg’s design was brilliant and never boring, in an opera that can sometimes lack if the singing and inflection is not continually affective. This was not the case in this production, however.
After the Major-Domo, portrayed by The Direction, announces that an opera buffa will be performed after Ariadne before the nine o’clock fireworks, the young composer arrives in hope of a last-minute rehearsal. Dramatically performed by young mezzo-soprano, Erica Iris Huang, the Komponist was convincing in his actions and expressiveness. Huang has a golden tone that is equally beautiful in the lower and higher tessitura, however, her intelligent shaping, and use of messa di voce made the Komponist even more expressive and affective to the audience’s sympathies.
After some kafuffles, the Major-Domo rings again to announce that the two operas are to be performed “simultaneously!” Since such a combination would certainly mean several cuts to the score, the Ariadne soprano and tenor argue over cuts to their respective scenes. Soprano, Melinda Delorme and Tenor, Steven Sherwood make their first stage appearances while singing in a recitativo. Steven Sherwood’s diction was sometimes unclear; although his voice has many promising attributes, he tended to struggle with the overall tessitura of the role. Delorme expressed a warm golden-orange hue to her soprano, and although she sang in recitativo, it was evident that there was more to this voice, thus causing greater anticipation for the opera-within-the-opera.
Désirée Till (Zerbinetta)
To try and resolve the situation, Zerbinetta, portrayed by soprano Désirée Till, sets out to extract the details of the opera seria from its author, charming him into compliance while calculating where her comedians can best intervene. She is at least intrigued, though not remotely persuaded, by the impassioned metaphysical gloss he puts on the story. Till has a lovely clear tone in the higher tessitura, as is often the case with present-day Zerbinette, even though the role is not specifically written for a soubrette, but for a lyric coloratura soprano. While in North America we have somehow misconstrued the soubrette as commensurate to the lyric coloratura, historically, it is not the same. While Till’s voice is promising, there was a significant lack of legato in a role that was written to equate to Bel Canto aesthetics and the type of fioritura produced by those aesthetics. Till’s exuberance and dramatic aptitude was, however, illuminating and brilliant. One might have liked to see her “true self” come through more affectively in her almost-love-duet with the Komponist.
After Zerbinetta’s tender moment with Komponist, Huang took center stage once more, and fashioned some tender moments of passion and intensity. His paean to “holy art music” is enough to touch any artist or music lover in the most intimate way. Although Huang had some more difficult moments here, contending with the orchestral palette in this section, she expressed a most beautiful lower register and some truly lovely sotto voce moments. In a brilliantly directed moment, the Komponist brings the orchestra into the diegesis. While singing of the sacred nature of music, he motions to the music that swells beneath him, gesturing to the orchestra, thus bringing the orchestra out of the typical mode of accompaniment or harmonic scaffold and making it a full-fledged character within the opera.
The opera Ariadne auf Naxos begins with a destroyed set from the prologue, and Ariadne standing on what had been the front desk, complete in a bridal gown and veil; behind her, an uncut wedding cake. A winding, melancholy overture in G-minor, with an allegro of dismay and alarm opens to the stage-within-a-stage. There were some unsteady moments in the tuning of the violins in this overture. Ariadne’s movements are spastic and she expresses a heavy burden. Although Delorme was dramatically interesting, the actions she effected asked for an even broader sense of abandonment. Three nymphs appear, with exquisite costumes, and lament Ariadne’s inconsolable state. Dramatically and vocally apt, Anna Bateman, Ada Balon, and Laura McAlpine gave solid performances. Until this moment, Strauss’ use of the harmonium has been, more or less, a sustaining factor, but he now entrusts piangente harmonies to the instrument.
The comedians appear with wonder at whether they can cheer up Ariadne. Kudos to Christopher Enns, David English, James Baldwin, and Stephen Bell, for their comical acting and competent vocal performances. Ariadne is unaffected by the comedians, and instead begins to recall Theseus-Ariadne in her soliloquy, “Ein schönes war.” Delorme finally demonstrated the instrument that she had given us small-tastes of in the prologue. A magnificent instrument, with spinto dramatic qualities, Delorme has a bright future ahead. Her continual sense of legato and expressive lyrical shaping left the audience excited for this young singer’s future. Although she had some inconsistencies in her sotto voce singing, the full-range of her instrument is tremendous and illuminating. She possesses a secure middle-voice and a very attractive tone.
The comedians are affected by Ariadne’s lament, as is Zerbinetta, who enters to convince Harlequin to try a little philosophical song. Baritone, Neil Aronoff, has a lovely voice and although he had some difficulty in his higher tessitura, he shows much promise and aptitude for lyrical singing. Ariadne, of course, ignores him and continues her elongated lament. The morbidity of her singing causes the comedians to jump into a Biergarten-like quartet with a descant by Zerbinetta, who quickly realizes that this has had no affect on Ariadne.
She sends the comedians away and addresses Ariadne herself, “Grossmächtige Prinzessin!” Zerbinetta tries to rationalize for Ariadne. “Do we not not all want each lover to be once-and-forever?” She recalls her own collection of amorosi in a brilliant coloratura showpiece, complete with recitativo, a couple of ariette, a rondo with variations, and competing flute. While Till was dramatically stimulating, her vocal production, here, was not as secure. She presented some illuminating moments, but by the end seemed a little vocally exhausted, which is understandable considering the difficulty of this scena. Zerbinetta’s music is a technical exercise and although there were moments of inconsistency, the audience warmly applauded in support of this promising young artist.
During Zerbinetta’s performance, Ariadne withdraws into her cave, refusing to listen. Perhaps this was Hofmannsthal and Strauss’ one error. With Ariadne not present, the intended comic friction between genres is not so evident and so the scene becomes an alternation of soprano styles, rather than a confrontation. Zerbinetta’s scena is followed by the comedian’s major scene, which was comically exciting and well performed, leaving only Harlequin to win Zerbinetta’s heart…or favours.
Suddenly, the nymphs appear to announce the arrival of Bacchus. From afar, his heroic tenor is heard, exulting from his escape from the witch-seductress, Circe. Tenor, Steven Sherwood had significant difficulty in this section, and although his voice shows promise, the high tessitura caused much strain and an absent legato. His arrival on-stage was visually spectacular, with a magnificent ocean-liner called the “Dewine,” crashing through the stage-set and illuminating the stage with its gargantuan presence. Bacchus stands in a stationary captain’s suit, from which he eventually steps down, and sings to Ariadne from above. At first, she expects death, but seems to welcome Bacchus tentatively. Bacchus tells Ariadne that he is a god and during their intense duet, she gives herself up to the stranger sent from heaven.
Delorme continued to express her magnificent instrument in the duet, although dramatically it left one aching for more raw passion and attraction between her and Bacchus. Sherwood struggled throughout, but had some vocally beautiful moments. The lover’s voices entwine and raise up to an epiphany in D-flat and the orchestra effects a pompous fortissimo, eloquently manifested by Maestra Grossmann.
The end of the opera brought Ariadne onto Bacchus’ ship and the return of the prologue and opera characters, including the Komponist, who says nothing but moves to express his affections for Zerbinetta, who finally show her true heart in a gesture of reciprocation. Overall, the production was successful and dramatically interesting. Maestra Grossmann kept exquisite balance between the voices and orchestra; one was never an intrusion on the other. In this production, Melinda Delorme and Erica Huang shone as bright Canadian lights with promise for future operatic success.
Mary-Lou Patricia Vetere © 2008