The literary device of a play-within-a-play has long charmed audiences – even before Shakespeare used the construct in Hamlet and numerous other works. So, it comes as no surprise that Ariadne Auf Naxos – an opera-within-an-opera – is an appealing prospect. There is the score by Richard Strauss…a delectably dicey comedic plot, worked into a libretto by Hugo von Hofmannsthal…and the universally intriguing theme of transformation.
The opera was written in 1912…revised in 1916 – and a century later has returned to Glimmerglass Music Festival this month as Ariadne in Naxos, largely translated into English with some remaining German text.
This production absolutely exceeds expectations – with a fresh, exciting take on the opera, and talent galore on stage. As such, it pays homage not only to Director Francesca Zambella – who has been the company’s Artistic & General Director since 2011 – but to Glimmerglass as an educational and cultural institution…for, every performer in the show was, or is, a member of their Young Artists Program.
The action takes place before a map of, not ancient Greece, but New York State. Various cities are marked by big stars…the most prominent being “Naxos.” The story concerns two very different troupes who have been invited to perform at the country property of a wealthy patron. One is an opera ensemble, complete with diva – that would be Ariadne – and a tense young composer whose new work is premiering that evening. The second is a band of burlesque entertainers, ready to roust their high-brow audience with rowdy, hip antics; their star is Zerbinetta.
Beginning gently and lyrically, Strauss’ music soon suggests the pending pandemonium. A Prologue establishes the outer play and introduces most of the characters. The estate’s manager announces – to the surprise (or, rather, horror) of both groups – that the two entertainments are be combined into a single performance. This opening act dwells on the angst of the composer, played by mezzo-soprano Catherine Martin, whose characterization is convincing and voice first-rate.
Part Two reveals the play within. It opens with Ariadne alternately sleeping and weeping, in the company of three nymphs. The diva is played by Christine Goerke, a Metropolitan Opera soprano whose voice has immense warmth and strength. She is wonderful…albeit hoping for death to release her from misery of waiting for…well, never mind…. The bawdy bunch of non-opera entertainers tries to cheer her with song and dance – to no avail. Zerbinetta opines something like, “Okay, you’re a princess, but underneath, we women are all the same: well acquainted with heartbreak. You need to move on.” In Zerbinetta’s case, heartbreak happens to entail bouncing from lover to lover. What soprano Rachele Gilmore proceeds to do as the saucy, flirtatious comedienne is nothing short of dazzling…dispatching her formidable, long, coloratura aria with controlled stratospheric high notes and constant playful motion.
Ably rounding out the show’s vocal leads is Cory Bix, who early on is the opera ensemble’s tenor and later the god Bacchus. The orchestra, directed by Kathleen Kelly, is well-matched to the lush harmonies of Strauss’s music – and the opera’s varying demands.
In case you haven’t already surmised…this production is well worth an excursion to Cooperstown, New York, where Ariadne in Naxos will be playing in repertory at Glimmerglass Music Festival through August 23rd.
Herbert Wolff studied under the guidance of Lee Strasberg and subsequently had roles with summer theater companies in upstate New York and on “live” television.He is former vice president of International Television Association and former Chairman of Massachusetts Advisory Council on Scientific and Technical Education. Herb continues to write, direct and appear in stage plays. For 25 years he has been the on-air reviewer of theater and opera productions for WAMC/Northeast Public Radio.
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