AriadneMet - Page: 1 of 1

Review BY: Paul Joseph Walkowski
OperaOnline.us
Saturday afternoon’s performance of Richard Strauss’ “Ariadne auf Naxos” by the Metropolitan Opera Company [October 8] was an unqualified success, met by thunderous applause and approval from the audience and clearly enjoyed by the cast that seemed to sense that they not only had it right, but that it was not likely to get any better than what they gave that afternoon.
This is the ultimate “chick” opera, as it is clearly about the fortunes of three strong female characters: the frustrated composer, sung wonderfully by Susan Graham; the loose woman Zerbinetta, sung and played out mischievously by Diana Damrau, and the fated Ariadna, sung majestically by Violeta Urmana. And, of course, any review of this favorite would be incomplete that missed the ethereal contributions of the three female spirits of nature: Najade, Dryade and Echo – all women, sung superbly by Olga Makarina, Susanna Poretsky and Nicole Heaston respectively.
Strauss’ two act opera (libretto by Hugo von Hofmannsthal) focuses on the plight of two traveling shows, both scheduled to perform before a wealthy and fickle Viennese patron who can’t decide whether he would enjoy a comedy or drama, so he commands that the two completely opposite traveling troupes perform both at the same time, leaving it up to the composer to figure out how best to achieve it. Hence: two acts: the first act sets up this implausible story and the second act shows the garish results of what occurs when you mix things up a bit too much.
To pull this off, in addition to strong performances, which we will address momentarily, you need things to go right artistically. Here, the Met proves that when it needs multiple level sets to make a point, few can match it for its depth and skill. The set and costume design by Michael Yeargan was striking and colorful, and when coupled with the smart lighting by Gil Wechsler and adept production quality provided by Elijah Mohinsky, it rose to the level of true art, particularly in act two where moving backdrops, signaling different times of day and place and setting different moods, were all that was needed, and essentially all we got – which turned out to be about right. The rich use of color to convey deeper emotional content was employed expertly and with great effect, making this production quite a sight to see as well as hear. [For more on our view of the use of color visit our Archives on the subject of lighting] Here, as elsewhere in this production, the stage direction was pivotal to ensuring that the movement of characters and sets in full view of the audience did not interfere with the performance. It did not. The stage direction was superb.
With regard to performances, Kirill Petrenko, the general music director of Berlin’s Komische Opera, conducted the Metropolitan Orchestra brilliantly, and drew the most from his musicians and singers, such that there was never a moment when the two conflicted. Balance was the order of the day and it showed in a performance of this opera that was a thrill to hear.
Speaking of thrills – and trills, we look at the singers.
There is a period when a jet approaches the speed of sound when it can be seen and heard, when it conveys power and grace of travel, and where time seems suspended for a moment before it actually crosses the barrier of air before it, producing in its wake a thunderous explosion the pilot never hears. To witness this up close and personal, is to experience a wonder that leaves one in awe of the power of something as simple as the movement of air from one place to another. Such was the control, power, grace and elegant buildup and delivery of the phenomenal mezzo-soprano Susan Graham, singing the role of the composer. I have never been fond of the practice of casting women in roles of men and oftentimes wish that in addition to everything else that is being tinkered with in opera these days, composers would transpose those “pant” roles to tenors. It is uncomfortable [though politically correct nowadays] to see love beginning to blossom between two women on stage, when one is supposed to be a man. Having said that, I would not have wanted to miss Ms. Graham’s thrilling performance, a performance that brought the house to the climactic moment of eruption at the end of Act I. To have seen this performance was to have witnessed a natural wonder and to fully understand what a magnificent voice brings to a production – pant role or no. Ms. Graham soared and the audience loved every minute of it.
Singing the role of Zerbinetta, the performer with an eye for men and eagerness to sample the field, was soprano Diana Damrau. The difference between soprano voices is sometimes nuanced, and at other times profound, Here, Ms. Damrau’s Zerbinetta was coquettish, seductive and playful. It was not just her stage antics that tempted and teased, but her voice as well. She displayed commanding coloratura and a fine ability to use trills as utterances of delight and seduction, to convey just the right amount of playfulness to tempt and put off the adoring men who assembled at her feet, or shoes, as the case may be. Hers was a wonderful and communicative performance that was a pleasure to experience in all its manifestations.
Singing the role of Ariadne was Lithuanian soprano Violeta Urmana, who sang Kundry at the Met in 2001’s Parsifal, a performance by this fine singer that I also thoroughly enjoyed. Mr. Urmana’s voice was lovely and she played well against the other strong female leads. As noted previously, the difference in soprano voices, here, was written wonderfully by Strauss to convey mood and character differences that went deeper than costuming. Here, the medium, the instrument, the voice is the message, and the voice of Ariadne was sung compellingly and movingly by Ms. Urmana.
The other female singers in this cast, the three nature gods, who played a larger role in Act II: Najade, Dryade and Echo, sung by Olga Makarina, Susanna Poretsky and Nicole Heaston respectively, were truly ethereal, rich and balanced in their smooth and quite lovely delivery throughout. When they appeared on stage, perched atop moving platforms under their elongated dresses that must have raised them fifteen feet above stage level [I wished I could have peaked under those costumes to see how this feat was accomplished] they glided – and more than this -- so, too, did their voices. To be able to sing and move as gracefully as they did, as high as they did, was truly an opera experience that both intrigued and pleased. Well done!
The poor men here get short shrift because Strauss wrote it that way. A “kudos” to Jon Villars for his dual role as Bacchus [the God who falls in love with and ultimately takes Ariadne to the other world] and the Tenor [sung in Act I]. Amongst the lovely female voices that filled the hall Saturday afternoon, it was no small feat for a male voice to be noticed. Mr. Villars, however, rose to the occasion and sang his Bacchus well, adding just the right ending and comforting power to his summoning of Ariadne to take his hand and follow him across time to another place.
While the weather was foul outside, cold and rainy and damp, inside the Met that day, the audience was wrapped in warmth and surrounded by sounds and sights that elevated this opera experience to an event that was a magnificent delight by any standard.

Conductor, Kirill Petrenko
Production, Elijah Mohinsky
Set & Costume design, Michael Yeargan
Lighting Designer, Gil Wechsler
Stage Direction, Laurie Feldman.