Lyric’s ‘Ariadne auf Naxos’ soars in grand triumph
By Betty Mohr Opera Review/bettybmohr@aol.com December 7, 2011 3:40PM
Alice Coote plays Composer in Lyric Opera of Chicago's "Ariadne auf Naxos." | Dan Rest photo
‘ARIADNE AUF NAXOS’
♦ Through Dec. 11
♦ Civic Opera House,
20 N. Wacker Drive, Chicago
♦ Tickets, $34-$224
♦ (312) 332-2244; lyricopera.org
Article Extras
Maps
Updated: May 9, 2012 10:05AM
Audiences held their breath when the curtain rose on “Ariadne auf Naxos” at the Lyric Opera of Chicago.
That’s because Deborah Voight, who was supposed to star in the title role, pulled out of the show in summer. How could the show go on without Voight, one of the great sopranos of our time?
Not only did the show go on, but it did so with soprano Amber Wagner, a Ryan Opera Center alumna, stepping in as Ariadne.
Backed up by the rest of the Lyric’s artistic team, the opera soared in grand triumph.
With music composed by Richard Strauss and a libretto by Hugo von Hofmannsthal, the opera stands out with a glorious combination of talent and ability.
This includes John Cox’s direction and a magnificent chamber orchestra led by Sir Andrew Davis’ magical baton.
Davis and his extraordinary musicians highlight the lush delights of Strauss’ glorious musical score. And Cox does a masterful job of keeping a sterling ensemble in fine form and perfect sync.
Keeping everything moving precisely is extremely important in this sweet and laugh-filled work.
The hoot of the first act is almost farcical, requiring perfect-pitch comedic timing and performers who can not only sing their hearts out, but who also can keep the laughs rolling in.
The opera is so funny, so satirical and so timeless that it comes across as though it were created in the present rather than in 1916.
The story begins as the wealthiest man in Vienna commands a change of plans for the entertainment of his dinner guests.
The rich patron has hired a young man who has composed a serious opera, “Ariadne auf Naxos,” and also a commedia dell’arte group.
Originally the two troupes are supposed to perform one after another, but the patron has decided that a fireworks display is more important.
So to save time for the fireworks, he orders both troupes to play simultaneously.
Strauss and Hofmannsthal skewer the unthinking power of the patron, make fun of the gigantic and unrealistic egos of artists (the composer wanting to end it all when his opera isn’t taken seriously), and joke about the yawning unconcern of lazy audiences.
This is so hysterical that it could be a “Saturday Night Live” sketch on television.
During the prologue of “Ariadne auf Naxos,” we also get to watch the goings-on backstage as the composer questions whether art can survive in a world of fools, while the full-of-herself diva shakes with childish tantrums.
Robert Perdziola’s set design of an old-fashioned theater with footlights and an island cave framing an ocean frothy with waves, provides a great backdrop for the action.
Of course, the high points in the opera are the vocalizations and performers.
Wagner deserves high praise for her dramatic and lush delivery of high notes as Ariadne.
Alice Coote’s rich mezzo-soprano is a delight of warmth and longing in the trouser role of Composer.
Tenor Brandon Jovanovich is ideal as the heroic and handsome Bacchus who comes to save the damsel in distress (every woman’s secret dream).
And then there is Anna Christy as the bubbleheaded, sexy charmer Zerbinetta.
Christy was last seen in Lyric’s “The Tales of Hoffmann,” in which she played a hysterical windup doll.
It’s obvious that Christy not only has a superb soprano, but that she also has a wonderful knack for comedy.
Betty Mohr is a local free-lance writer.
SHOWING SUPPORT
Lyric Opera of Chicago has chapters in which opera lovers of all ages get together to enjoy lectures, musical performances, special events, volunteer opportunities and each other’s company. Information on the Flossmoor Area Chapter is with president Diane Moses at FlossmoorChapter@lyricopera.org.
Comments Click here to view or make a comment