Opera North Ariadne auf Naxos 2023

[Pulcinella]

Bowled over musically and visually by this in Leeds last night (opening night, new production).
So much so that I'm seriously thinking of going to a second performance to get a different perspective on all the stage action from a different vantage point.
Strongly recommended.
Get yourself there if you can.
There were too many empty seats last night!

[smittims]

Glad to hear this opera is getting a successful new staging. I've never seen it, only listened to recordings, and it's always seemed a bit of a failure. I can understand Strauss' desire to produce the revised version, but the Prologue isn't , for me , a satisfactory solution.

[Pulcinella]

Glad to hear this opera is getting a successful new staging. I've never seen it, only listened to recordings, and it's always seemed a bit of a failure. I can understand Strauss' desire to produce the revised version, but the Prologue isn't , for me , a satisfactory solution.

Hilarious in this production, set in a Fellini-type film studio.
Racks of clothes wheeled across the stage as Zerbinetta and the Prima Donna fought over the dressing rooms.

[Ein Heldenleben]

Bowled over musically and visually by this in Leeds last night (opening night, new production).
So much so that I'm seriously thinking of going to a second performance to get a different perspective on all the stage action from a different vantage point.
Strongly recommended.
Get yourself there if you can.
There were too many empty seats last night!

Good to hear it was a success - I had a feeling from the press it would be. The empty seats don’t surprise me - even in pre Covid days this opera was a difficult sell. I’ve seen it several times . Once in the 00’s I’d treated myself to a stalls seat at Covent Garden and was musing in a vague way about how the original concept represented something of a high point ofEuropean culture with its fusing of the best of French and German (and Classical Greek of course ) elements . Before it was all to be smashed to pieces by WW1 .
My vague musings were interrupted when I became conscious that very unusually every one around me was in their 20’s . I started thinking that maybe we were in for something of a cultural revival. On asking around it became clear that it was as they say a “papered” house with most having paid a sixth of what I had.
They all seemed to enjoy it - but whether they came back for more is a different story.

[ChandlersFord]

Good to hear it was a success - I had a feeling from the press it would be. The empty seats don’t surprise me - even in pre Covid days this opera was a difficult sell. I’ve seen it several times . Once in the 00’s I’d treated myself to a stalls seat at Covent Garden and was musing in a vague way about how the original concept represented something of a high point ofEuropean culture with its fusing of the best of French and German (and Classical Greek of course ) elements . Before it was all to be smashed to pieces by WW1 .
My vague musings were interrupted when I became conscious that very unusually every one around me was in their 20’s . I started thinking that maybe we were in for something of a cultural revival. On asking around it became clear that it was as they say a “papered” house with most having paid a sixth of what I had.
They all seemed to enjoy it - but whether they came back for more is a different story.

Did this discovery, pre-curtain up, spoil your enjoyment? I’m reminded of the current ad featuring two potters, one of whom tells the other that her estate agent hadn’t charged commission (whereupon, the other potter destroys his own work, then turns on hers).

I’m impressed that ON has decided to revive A auf N, which is (on balance) my favourite Strauss opera, even though I can sympathise with those who think it’s an unfunny joke and an artistic disaster. I may not always warm to the comedy played by the buffo types, but it’s usually worth it for the ‘big sing’ at the end. Apparently, the role of Bacchus is extremely ungrateful to sing - Strauss vented his loathing of the tenor voice when he wrote the part. Even its finest exponents don’t seem to enjoy essaying it (‘He just stands there’, quoth James King).

I shall be seeing it in Nottingham - there’ll be plenty of empty seats in that grubby, philistine little city (Graeme Greene was totally correct about Nottingham - and he’d be even more correct if he could see it today). Pleased to note that the last ON performances I attended there, in the autumn, seemed to be fairly well attended.

[ChandlersFord]

Glad to hear this opera is getting a successful new staging. I've never seen it, only listened to recordings, and it's always seemed a bit of a failure. I can understand Strauss' desire to produce the revised version, but the Prologue isn't , for me , a satisfactory solution.

I imagine a Regie will be along soon to conceptualise a new version in which the ‘reiches Herr’ is Andrew Tate!

[Nick Armstrong]

Bowled over musically and visually by this in Leeds last night (opening night, new production).
So much so that I'm seriously thinking of going to a second performance to get a different perspective on all the stage action from a different vantage point.
Strongly recommended.
Get yourself there if you can.
There were too many empty seats last night!

One of my (few) favourite operas. Seen a few over the years. When well done, it’s a joy. Very tempted.

[Pulcinella]

One of my (few) favourite operas. Seen a few over the years. When well done, it’s a joy. Very tempted.

Just booked to see it again, in Newcastle on 24 March!

It's a different tenor from the one in Leeds (and he's singing in Nottingham too):

https://www.thetimes.co.uk/article/david-butt-philip-opera-singer-interview-x6hxpdmdj?shareToken=6bdd9a3158fc0463df4e9a6cf85f092e

That's an article that's perhaps worth posting elsewhere.
It caused a bit of subsequent correspondence in the Letters column.

[kuligin]

My favourite Strauss opera, although I accept it is not at the level of Elektra. I was nervous of hearing it performed by ON, after all it needs a vituoso for Zerbinetta, and quite honestly I did not think they would be up to it, but I have now decided to fill one of those empty seats.

Of course Regie has already destroyed this opera at Glyndebourne, set in posh country house, no doubt in Sussex during a World War 2 air raid, with poor Zerbinetta singing her showcase aria tied up by nurses in a straightjacket.

So sad the constant downward spiral, less funding, modest productions plenty of Tosca and musicals, smaller audience for main stream repertoire etc.

I heard ON in their great years stage Daphne, I am now having to travel to Berlin to see it again. I am just 3 operas away from seeing every Strauss opera.

[Ein Heldenleben]

Did this discovery, pre-curtain up, spoil your enjoyment? I’m reminded of the current ad featuring two potters, one of whom tells the other that her estate agent hadn’t charged commission (whereupon, the other potter destroys his own work, then turns on hers).

I’m impressed that ON has decided to revive A auf N, which is (on balance) my favourite Strauss opera, even though I can sympathise with those who think it’s an unfunny joke and an artistic disaster. I may not always warm to the comedy played by the buffo types, but it’s usually worth it for the ‘big sing’ at the end. Apparently, the role of Bacchus is extremely ungrateful to sing - Strauss vented his loathing of the tenor voice when he wrote the part. Even its finest exponents don’t seem to enjoy essaying it (‘He just stands there’, quoth James King).

I shall be seeing it in Nottingham - there’ll be plenty of empty seats in that grubby, philistine little city (Graeme Greene was totally correct about Nottingham - and he’d be even more correct if he could see it today). Pleased to note that the last ON performances I attended there, in the autumn, seemed to be fairly well attended.

No not really - good luck to them . I hope they enjoyed it and go to plenty more. What have you got against poor old Nottingham? Your diatribe would have more impact if you’d got the correct spelling of Greene’s Christian name!

[Pulcinella]

Times review (not spotted last week, for some reason):

https://www.thetimes.co.uk/article/ariadne-auf-naxos-review-strauss-meets-fellini-in-jolly-roman-refit-l0wtzq0kq?shareToken=f807ae2b7b1e91f1c875343462dab0d5

[kuligin]

Times review (not spotted last week, for some reason):

https://www.thetimes.co.uk/article/a...75343462dab0d5

I duly attended last nights performance, the gods were closed and so the rest of the theatre felt reasonably full but I have to say despite the reviews I came away somewhat disappointed.

The production follows the plot thank goodness unlike Glyndebourne, but the familiar idea of the Komponist returning in Part 2 and going off hand in hand with Zerbinetta is inserted again, really rather silly as it takes one’s eyes away from Ariadne and that is what the music is telling us.

The singers in the main parts were fine if not outstanding, the Komponist, Hanna Hipp sang her great paean to music very well but otherwise was rather understated, is this the same singer I heard as Madelene in Meistersinger in the small theatre at Meiningen I wonder, the programme says she has sung that part but at ROH. Jennifer France as Zerbinetta looked the part and got through her demanding solo with only a squeak or two but also lacked presence. By far the best singing came from Elizabeth Llewellyn as Ariadne and surprisingly Ric Furman as Bacchus who made a good fist of that near impossible role.

The main disappointment came from some sluggish conducting from Antony Hanus, I kept thinking how Elder at the ROH kept everything moving so much better, and the singing of both Zerbinetta‘s troupe and Ariadne’s companions was pretty weak. I don’t think these important parts came be really be adequately sung by chorus members as occurred here.

So in Michelin terms a bib rather than a fork, and really not worth a diversion for Strauss. Glad I went though as I think that’s it from Strauss in the UK outside London in 2023.

[Belgrove]

I saw this in Nottingham and was agreeably impressed by the production and the overall quality of the singing. Considering it’s on tour and having to fit into theatres of different dimensions, the production is rather lavish and complex - and there were fireworks at the end! Impressive playing by the orchestra which was on good form, Strauss’ score is a joy and Anthony Hanus revealed witty details I’ve never registered before, as well as poignancy and gravitas as and when required. Unlike Kuligin, I found Mark Elder’s conducting years ago at the ROH pedestrian and humdrum, Pappano brought verve and panache to the score in that rather fine and elegant production’s first outing. But the finest rendition was by Jeffrey Tate in the 1980’s with a dream cast - Jessye Norman, Kathleen Battle, Ann Murray, James King, Norman Bailey, and a terrifying Major Domo giving his instructions via an intercom. All credit to Opera North with one of their finest staged productions that I’ve seen.

[kuligin]

Thank you Belgrove for your thoughts, it always interesting to hear another point of view, particularly as you are able to compare with the Elder performance, even if we have diametrically opposite opinions on that performance.

I seem to be in a minority of one on the ON production as I have now read glowing reviews from both the TLS and Opera.

I never heard Pappano conduct it at the ROH, just Spanjaard in 1976 and Colin Davis in 2004. I too love this score, this was my 7th performance starting with Heinz Wahlberg 1973 Vienna, about which I can’t recall anything except being totally bemused by the action as it was naturally in German with no subtitles, but loved the music, so it lead to a purchase of the Karajan recording. It is now my favourite Strauss opera.

[Nick Armstrong]

But the finest rendition was by Jeffrey Tate in the 1980’s with a dream cast - Jessye Norman, Kathleen Battle, Ann Murray, James King, Norman Bailey, and a terrifying Major Domo giving his instructions via an intercom.

My introduction to the piece and one of the first operas I ever saw - I had to go back and back and saw it 3 times. That Klimt-inspired final coup-de-théâtre !