Glyndebourne’s Ariadne showcases a stellar talent
Ariadne auf Naxos
Much disliked when first seen in 2013, Katharina Thoma’s production of Richard Strauss and Hugo von Hofmannsthal’s philosophical comedy returns to Glyndebourne trimmer, tauter and much better cast. However, its bizarre overall concept remains no more persuasive than it did four years ago: this is a classic case of a director seeking difference at all costs, never mind the implications of the text.
Strauss and Hofmannsthal envisaged the opera taking place in the private theatre of a Viennese nob in the baroque era; Thoma translates it into an English stately home, not unlike Glyndebourne itself, in the Second World War. At the end of the prologue, Thoma fabricates an air raid that damages the building severely; Hofmannsthal’s idea of a courtly opera-within-an-opera is then ignored, and the second half shows the stately home transformed into a hospital in which Ariadne is one of the traumatised patients, nursed by nymphs and rescued by Bacchus, a flying ace who jumps in through a window.
Visually, the staging – meticulously realised to Glyndebourne’s highest standards – may offer a pleasant echo of the world of Powell and Pressburger, but it certainly doesn’t resonate with what Strauss and Hofmannsthal had in mind: the artist’s struggle in an indifferent world to control what he or she creates and the question of the constancy of human love. The context of war puts another complexion on it, uncalled for by text or score.
Fortunately, some splendid musicians are on duty to explore the true heart of the opera. In the title role, the Junoesque young Norwegian soprano Lise Davidsen surpasses all expectations that her recent competition triumphs have ignited: her voice is a magnificent organ, with stops that can produce great swells of firm tone as well as threads of delicately shimmering silver. Nothing is merely blasted out for cheap effect, and every phrase is shaped with sensitivity. She also emerges as a witty, expressive actress who moves with grace and dignity. What fabulous potential there is here.
Erin Morley does a nice clean job with Zerbinetta’s coloratura frolics, and Angela Brower is a properly impassioned Composer, haunting Ariadne’s hospital drama from the sidelines. The quartet of comedians and trio of nymphs are excellent, but special praise is due to AJ Glueckert, who sings the taxing role of Bacchus without bleat or roar. Cornelius Meister conducts with unassertive elegance, and the playing of the LPO gives much pleasure.
In rep with Hamlet and Hipermestra until
July 27. Tickets: 01273 815000; glyndebourne.com