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Her soprano is a plush instrument, its substantial heft and dark colorations well-matched to Ariadne's ocean of soulful passion. Claycomb anchors Zerbinetta's teasing flirtatiousness with underpinnings of womanly warmth and understanding, all projected with irrepressible zest.Ĭhristine Goerke's nobly tragic Ariadne drives home the study in contrasts, impressing with her dramatically charged singing and grand manner. Laura Claycomb sings Zerbinetta with sparkling vivacity and technical virtuosity, making her showpiece aria a dazzling showstopper. She captures the lad's impetuous, self-dramatizing, headstrong aspects with panache, conveying both the naiveté and nobility of his youthful idealism. Graham's accomplished mezzo and fluent legato phrasing seem made for the role. Susan Graham exudes vigor and boyish dash as the Composer. One lead, the Composer, appears only in the Prologue, while Bacchus doesn't really sing till that extended closing scene, when he must deliver continuously.Ĭox's ingenious stage direction, along with Summers' forceful conducting and the HGO orchestra's consistently suave handling of the score, brings cohesion to the work's somewhat-scattered opportunities. Hugo von Hofmannsthal's libretto juxtaposes opposing views of life and love: Zebinetta's humorously lighthearted and devil-may-care take, versus Ariadne's earnest, self-dramatizing and heroic perspective.Īmong the quirks: The prologue stresses recitative and spoken dialogue, while the opera occupies another musical landscape entirely, peaking in Zerbinetta's stratospheric coloratura showpiece and capped by a grandiose 20-minute duet by Ariadne and Bacchus. However, given the host's command, this grand saga unfolds with the playful intrusions and commentary of mischievous Zerbinetta and her troupe. The work's second part is the 90-minute opera seria itself, depicting the mythological heroine Ariadne, abandoned by her lover Theseus on the isle of Naxos, yearning for death - yet ultimately restored to life and love by the arrival of the god Bacchus. When the Major-domo announces their host's arbitrary decision that both shows are to be performed simultaneously, pandemonium reigns, and the idealistic opera composer despairs. Into a private theater in the home of the richest man in 17th-century Vienna come both a commedia dell'arte troupe and an opera company, to entertain at a dinner party. Its first part is a 45-minute prologue that sets up the situation. The offbeat aspects stem from the opera's structure.
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