horizontal line

Ariadne auf Naxos affords myriad directorial opportunities. Claus Guth takes a highly serious approach to the piece, emphasising its series of opposites such as opera buffa against opera seria, comedy against seriousness. He comes down heavily on the sombre side – the composer is so overwrought that he shoots himself, Ariadne a lonely lush counting out her bleary final hours in a restaurant before overdosing. Without Zerbinetta and her troupe providing any lightness of touch, the whole performance loses its sense of balance, though it is precisely executed by the performers. Christoph von Dohnányi conducts with matching analytical swiftness. Emily Magee gives an Oscar-worthy performance as Ariadne, her singing rich and detailed (though for a grander assumption look elsewhere, this goddess has feet of clay). Roberto Saccà and Michelle Breedt offer a lyric Bacchus and Composer. Elena Mosuc’s Zerbinetta is generally accurate but rather charmless, and thus not a great foil for her Ariadne.

Francis Muzzu Read the full review on Agora Classica

   Read full review   

To continue reading, please upgrade to a premium account. You will have immediate full access.

Read more classical music reviews online here:

Opera Now, 2013 - ©Rhinegold Publishing