Richard Strauss: Ariadne auf Naxos - James Levine Celebrating 40 Years at the Met

Since it is not possible to rate performances individually (in which case I would rate Dessay's Zerbinetta five stars), and there are too many negatives (personal preferences) for me to rate the overall performance other than the three stars. Moshinsky's production is adequate in the Prologue and almost non-existent in the opera proper. The conceit of 18th century staging of classical myths in the dress of the time is not a new one. Perhaps it does Ms. Voigt a favor, but I would like to think that she could have been costumed more appropriately in the similar setting that is used in the the film from the Vienna State Opera. She is not the most gifted of singing actresses (perhaps the weight loss has made a difference) moving by the numbers and gesturing in a manner that seems (to me) artificial and contrived. As to the singing I have to admit that I never counted myself in her camp, but her delivery of the two arias is quite stunning and she easily rises to the challenge. I wonder if she could sing them as well today? Her tenor is quite un-god like, barking and in general singing with little or no distinction. The role is difficult, not too long, but it does require a heldentenor with a good top. It is not uncommon to farm it out to tenors who simply take it on as a job. The one time they didn't was the recording (live) that celebrated the birthday of Strauss: the tenor was Max Lorenz. Alas no one has met that standard set in war time Austria. The rest of the cast was pretty good too!The real star is Dessay, pre vocal difficulties. While in essence I would prefer a German trainied voice (Streich, et. al.) Dessay is quite brilliant, negotiating all the difficulties vocal and otherwise that Strauss wrote. In addition she is so comfortable on the stage that even if her singing weren't as good as it is she would steal the evening. I have admit that I prefer her to the reigning Zerbinetta of the last thiry years, Gruberova. Again, personal preference.In a number of recordings the singer chosen to sing the Composer can be mentioned in the same sentence as the Prima Donna/Ariadne and Zerbinetta. Those were the days when we had Seefried, Jurinac and Zylys Gara. Today mezzos have taken over the role; it doesn't lie that high and a good lyric mezzo should have no strain with top notes. Susanne Mentzer sings the role well, but one only has to hear Seefried (either recording) and Jurinac to hear (and in the case of Juriniac) and see the difference. She does give a good performance and has clearly has thrown herself in the role. As compared with the others currently available in DVD she can be rated very highly.Among the four sets I have, my own personal preference is for the Zurich performance with Emily Magee. She comes closer to to my ideal Ariadne (Cebotari) than any other soprano, combining a radiant soprano voice, great beauty and technique. I will admit that the production is doubtless too outre for most auditors, especially if only one DVD is to be had. Additionally the Bacchus, Roberto Sacca, is only marginally superior to Marginson vocally and carrying far fewer pounds--a visual advantage. The Zerbinetta is the house soprano who will make her Met debut this year, Mosuc. She is several light years from Dessay and Gruberova. Had the Janowitz version been a live performance it doubtless would be the main contender, but it is hardly fair to compare a film with live performances. The Dresden performance should not be overlooked; it afterall was one of the houses that used to compete for Strauss premiers. The Ariadne/Prima Donna, Susan Anthony, is really very good and Sophie Koch another mezzo an excellent Composer. The Zerbinetta is workmanlike and she negotiates the difficulties adequately if not memorably. Colin Davis in a repertroire that one doesn't usually associate with him has the measure of the score.Given the options for the opera lover who wants an Ariadne in their collection I suspect that this current set will satisfy their needs. Only a curmugeon such as myself will be bothered by objections I have noted.

This is, at best, a difficult opera to properly perform. I guess that’s why we don’t see much of it. Essentially, it’s a play within a play, somewhat like Pagliacci, inclusive of the clowns. In the last act, we see traces of Fliegende Holländer, while, at the end, we see an almost identical finale in Lohengrin. This is a romantic opera, about a young woman, who, after losing her love, pines away, on a desert island, awaiting salvation, death or a “white knight” rescue. The individual, who contracted it, to be performed, at his dinner party, as after-dinner entertainment, as a serious story, to be followed, by slapstick, clown entertainment, has changed his mind, then decides that the comic entertainment and the opera are to be performed simultaneously. The two, incongruent, theatrical companies are left, to work that problem out, with no more than a half hour’s notice. In this presentation, the blend is exquisitely handled. Why, then, do I give this performance only a 4? The performance does have one significant problem. Deborah Voigt’s age and substantial girth do not make her believable, as the young, distressed Ariadne. On top of that, her voice is not up to the part. There are moments, when one can physically feel, not just hear, her failure to hit or hold the proper notes. On the other hand, Natalie Dessay, as Zerbinetta, steals the vocal show, perfectly hitting every note and providing the true sonic aesthetic of this opera. Is this a keeper? Yes but Dessay would have been a much better Ariadne, with another, young soprano, as Zerbinetta.

This is the most exquisite Ariadne I've ever seen!Why?First, the music: James Levine and the Metropolitan Opera Orchestra bring out all the beauty of Strauss' music at every moment in the opera.The singing: Where do I start? Yes, of course Natalie Dessay vivifies and personifies Zerbinetta as few ever have. Richard Margison provides the strongest ever tenor voice that sweeps away Ariadne and the audience. Deborah Voight sings almost as powerfully as Jessye Norman, but with a brighter tone.The acting: My impression is that this is the best-acted Ariadne I've ever seen. Watch for the body language in the interaction between Zerbinetta and the Composer--every gesture adds to the strength of their attraction. The same effect results from the tug o' war between Ariadne and Zerbinetta. Watch for Deborah Voight's expression of "Gotcha," when she briefly bests Zerbinetta. Handsome, rich-voiced and a perfect actor, Nathan Gunn as Harlequin is especially endearing as a playful suitor who is equal to Zerbinetta. Even the three Muses use their bodies as well as their voices to give their roles more impact. I should add that producer Elijah Moshinsky has added a touch that elevates the Muses above the other mere mortals on stage, but I'll leave that surprise for you to appreciate when you see it.Something that struck me as exceptional about this production (if anything could add to such exquisite music, singing and acting!) was the stage direction for Zerbinetta's "company of burlesque players." They constantly give every appearance of having such a good time and enjoying their endless display of slapstick comedy, which is so proper for this half of the opera company. A more playful, tender, and "always fun" troupe you won't find anywhere. As Harlequin and Zerbinetta exclaim: "What a magic wonderland!" Perhaps it's all summed up in a gesture by Deborah Voight at her bows following the concert: her facial expression and gesture seemed to say, "Wasn't this a great opera!!?"

I’m very wary of Met productions but this one, for the most part, traditional is very strong. Voigt, before her spectacular weight loss, is very strong, in the Jessye Norman mould rather than Janowitz. And she is very much in the role in acting terms with her very expressive face. Dessay is wonderful. So well acted and sung. I saw Battle and Gruberova in this role and she is fully their equal.Strauss was cruel to tenors and Bacchus is strenuous. Margison is very good, not so much strain, albeit not love’s young dream.I love the gigantic nymphs! The production is strong on the interaction of the characters. It really is very beautifully sung. I do have reservations about Levine as conductor, seeing him essentially as a Kapellmeister, disciplined but uninspired. No reason to revise that opinion but he gets the orchestra to play well and whip up a storm in the glorious final duet.

There is, of course, the classic recording of 'Ariadne auf Naxos' from the Metropolitan Opera filmed in 1988 and starring Jessye Norman, Kathleen Battle and Tatiana Troyanos. That is a marvellous performance, but this newer production by Elijah Moshinsky is almost its equal. Inexplicably this performance starring Natalie Dessay and Deborah Voigt has only recently appeared on DVD even though it was recorded in 2003. It is an excellent production featuring a realistic 'backstage' setting for the prologue, followed by a more abstract set for the 'Ariadne' performance, which is used very evocatively.The cast is really excellent, almost ideal. Natalie Dessay is truly outstanding, giving a virtuoso performance as Zerbinetta. She is vocally brilliant, both fluid and accurate, but she is also a wonderful actress. This is a beautifully controlled performance making it absolutely believable, playful but never over the top. She really gets to the heart of the character and brings out the real humanity of her personality and her genuine attempts to help both the composer and the prima donna to fully accept and appreciate the limitations and joys of real life.Deborah Voigt is also excellent, not as magisterial as Jessye Norman in the earlier set, nor with such a huge voice, but in her own way very commanding. Her singing is beautifully restrained and controlled. She is very accurate, letting Strauss's wonderful melodies speak for themselves.Susanne Mentzer is good as the composer, but not the equal of Tatiana Troyanos. She has a wider vibrato than is ideal for this character which is slightly distracting in some of the absolutely beautiful melodic lines that Strauss gives to the composer (himself ?). This is only a minor criticism, however, in general she does a very good job both vocally and dramatically.The real plus in this performance compared to the earlier production, is with the male cast members. All of them are truly excellent and appropriate to their roles. Richard Margison is much better as the tenor/Bacchus than James King, who was well past his best when he sang this role in the 1988 set and is the major drawback in that earlier performance. Neither of them really look the part (except ironically), but dramatically and especially vocally Richard Margison is far better. It is also very good to have Wolfgang Brendel as the music master and there are highly entertaining performances from Waldemar Kmentt as the Major-Domo and Nathan Gunn as Harlekin, but all the men are very good.Even more than the individual performances, however, the real success of this production is that it works as a whole. It is totally believable and the cast work so well together that the viewer is drawn in right from the start and held entranced throughout the unfolding drama, ludicrous though the events may be. There is a truth and an underlying reality here that really makes it work. Add to that the glorious music in such a wonderful performance and this is an operatic gem.The visual and sound recordings are both first class and the DVD is well produced with LPCM stereo or DTS 5.0 surround sound, 16:9 picture format and optional subtitles in English, French, German, Spanish, and Italian. This DVD is very good value at the modest list price which is typical for this series of opera recordings by Virgin. Altogether an excellent modern recording of one of Richard Strauss' finest operas.

In every way a tremendous performance of a quite tricky opera. First part back stage banter and conflict centred around the composer ( a trouser part for a soprano ,oversensitive and over acting but singing some divine music)and the second part being the joint performance of the comedia della arte and the opera seria combined. Judging the time period and the theatre backstage it would be impossible for such an up to the moment spectacular that we see but then thats poetic license! Three divine sopranos take the leading roles all in different styles. Natalie Dessay is fantastic as Zerbineta and brings the mamoth colaratura aria in the second part to a resounding climax with an excellent performance. Deborah Voigt is massively majestic as Ariadne surounded by three sirens in paniered dresses all over ten feet high.......Why?(but fascinating to watch). Suzanne Mentzer is an excellent composer which I find a bit sad because she is not present at the end of the opera for curtain calls. Still' someone has to do it. The supporting male characters are all very good in their parts too. For me the biggest star is the orchestra that make so many beautiful sounds with quite a small number for Strauss changing styles abruptly to follow the action on stage. All in all I loved it ,loved it, loved it.

Ariadne auf Naxos is a very beautiful and funny opera, and this DVD is the most pleasant to me. Singing and acting are excellent, as well as sets and costumes. The orchestra, under the great Levine, plays splendidly. Other DVDs may be even better in some aspects but as a whole I like this one best.

One of the best dvds of Adriane and watched it many times