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Bariton

Thomas Allen

Ein Musiklehrer

Sopran

Soile Isokoski

Ariadne

Kate Lindsey

Der Komponist

Laura Claycomb

Zerbinetta

Uliana Alexyuk

Dmitri Vargin

Harlekin

Tenor

James Kryshak

Scaramucchio

Bass

Torben Jürgens

Truffaldin

Andrew Stenson

Brighella

Sergei Skorokhodov

Bacchus

Wolfgang Ablinger-Sperrhacke

Der Tanzmeister

Guy de Mey

Ana Labin

Najada

Mezzosopran

Elodie Méchain

Dryade

Gabriela Istoc

Echo

Sprechrolle

William Relton

Haushofmeister

Dirigat

Vladimir Jurowski

Regie

Katharina Thoma

Kostümbild

Irina Bartels

Bühnenbild

Julia Müer

Klavier

Gary Matthewman

Primadonna

Stuart Jackson

Der Offizier

Der Tenor

Michael Wallace

Der Perrückenmacher

Frederick Long

Lakai

Orchestra

London Philharmonic Orchestra

Glyndebourne

Deutsch

Ariadne auf Naxos

Vereinigtes Königreich

Opera House

Ebert Room

Lewes

Ariadne auf Naxos Glyndebourne 2013 Isokoski Lindsey Claycomb Skorokhodov

Strauss’s madcap Ariadne auf Naxos, in which lowbrow comedy dukes it out with highbrow pathos, gets a hilarious and heartbreaking update in this production from the 2013 Glyndebourne Festival. Katharina Thoma directs a powerhouse cast, including Soile Isokoski as Ariadne, Kate Lindsey as the Composer, Laura Claycomb as the scene-stealing Zerbinetta, and Sergey Skorokhodov as Bacchus, backed by the world-class London Philharmonic Orchestra under maestro Vladimir Jurowski.

Ariadne auf Naxos, premiered in its most widely performed second incarnation in 1916, is not your typical opera. Its first act, a prologue, sets the scene at the home of a wealthy Viennese man who has hired two musical troupes to perform: a deadly serious opera seria company and a slapstick commedia dell’arte group. Due to last-minute time constraints, the two ensembles are forced to perform their acts simultaneously—and predictably, the addition of a comedy act into the story of the spurned Ariadne, waiting to die alone on the isle of Naxos, leads to a truly singular second act, a canny melding of genres that plays on the audience’s conflicting expectations.

Katharina Thoma’s staging transposes the myth into a more modern setting: an English manor during World War II, far from Ancient Greece. Flames and rubble evoke the carefully reconstructed wartime scene, while the eminently talented cast brings astonishing vocal precision to this complex work. Jurowski and the London Philharmonic Orchestra are, as ever, second to none, bringing out every nuance and highlight in the score.

Glyndebourne’s wartime history as a home for evacuee children is the ingenious context for a new production of this unclassifiable entertainment in which low comedy and high tragedy compete for our attention, "borne aloft by Strauss’s divine music and Hofmannsthal’s visionary poetry". At the centre of this production from Katharina Thoma is the noble, tragic figure of the abandoned Ariadne herself, in a haunting performance from Soile Isokoski, "with brilliant support from the pit" (The Independent).

In the end everything turns out happily, but before that things are going well: Laura Claycomb as Zerbinetta and her entourage amusingly stir up not only the music establishment; their top tones are crystal clear. Even the smallest roles are well cast in this production, so that even nurse gossip becomes an entertaining musical number.

Ariadne auf Naxos Strauss,R

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