Ariadne: More Lush than Harsh

Ariadne auf Naxos, The Dallas Opera. Photo credit: Karen Almond

Based on conversations at last weekend’s Operapalooza festival, it appears that our season opener Ariadne auf Naxos (October 2 and 4) requires a bit of explanation. Strauss completed the opera in 1916, and relative to some other pieces in his body of work, Ariadne has more of a 19^th- than a 20^th-century sound, more lush than harsh.

The plot involves two performance groups hired by a rich host: one is a serious opera company, and the second is a “commedia dell’arte” company, which today would be likened to a Second City troupe. During the prologue, the rich man’s major-domo arrives backstage with the news that, to stay on schedule for the fireworks, both groups must perform their significantly different works simultaneously. This sends all performers into an uproar as they scheme how to have their own roles in the spotlight.

The next act then becomes the combined opera and comedy, and we (as our audience) see what the rich man’s audience sees. The scene opens as the morose Ariadne looks forward to death, having been abandoned by Theseus on the island of Naxos. Zerbinetta, the head mischief-maker of the comedia troupe, sends in various colleagues to try to cheer up Ariadne and liven up the somberness of the opera. This involves lots of vocal and physical comedy. In the end, Bacchus arrives and falls in love with Ariadne, and off they go, presumably to live happily ever after. This is the really short version of a complex story—I strongly recommend that you get to Clowes early enough to read a more detailed description in the program.

Indianapolis native and opera sensation Angela Brown will perform the title role of Ariadne

Now, the music is a very interesting study in contrast. While the orchestra is small, the music is very dense and very demanding of singers and orchestra musicians alike (and conductors!). The score changes meter and tempo with regularity, and sometimes the singers are working in a different meter than the orchestra. For example, the singers might be singing in four while the orchestra plays in six. That means I have to figure out a beat that simultaneously signals both groups where we are. In addition, the cast members are asked to sing complex music while also performing vigorous physical antics as actors. It’s hard to be funny and at the same time concentrate on complicated music.

Some of our cast members have performed with us in the past several years: Arnold Rawls, Matthew Chellis, Joseph Gaines and John Ames. Corey McKern is new to us, and a great addition to a wonderful group of singers. We also are pleased to welcome back the talented Joachim Schamberger, who stage directed our 2008 Tosca and last season’s acclaimed Das Rheingold. In addition to directing Ariadne, Joachim, a native of Germany, will be playing the speaking role of the major-domo! Finally, special appreciation goes to our two Indiana-based Met stars, Angela Brown (Ariadne) and Jane Dutton (Composer), who are proud to call Indianapolis home.

Rachele Gilmore returns to the IO stage

The opera proper contains one of the most famous and virtuosic arias in the opera repertoire, which lasts (I kid you not) 20 minutes and requires great vocal stamina and range. (It is often used as an audition piece to demonstrate that the soprano has the high notes; I usually ask them to start halfway through just to save time.) If you witnessed the show-stopping vocal fireworks of Rachele Gilmore in our 2008 production of Tales of Hoffmann, you can understand how thrilled we are to have her back as Zerbinetta for Ariadne. Click to hear her performance of the aria. (You may be prompted to click on the enhanced Java version.) 

We completed our first sing-through yesterday, and the ability of this stellar cast, and their already apparent enthusiasm for working together, make me excited to be off to rehearsal today. I think you will be just as excited come performance time!

Jim