Ariadne Auf Naxos

Given its final version in 1916, Ariadne auf Naxos abandons the excess of Salome and Electra, orienting itself toward neoclassicism in its juxtaposition of the world of antique opera seria with that of the commedia dell'arte. The Prologue--with its theater within the theater setup--is a playful treatment of the theme of art versus reality and of sublime love versus frivolity, represented by the opposition between a young composer (Anne Sofie von Otter) and a saucy comedian, Zerbinetta (Natalie Dessay). The cast assembled here is exemplary and basically not to be surpassed today, with Deborah Voigt in her famous turn as the title character and Ben Heppner as Bacchus. --Franck Erikson

These same Strauss specialists will naturally compare Sinopoli's new version with the others and find good points and bad, depending largely on their taste in conductors and singers. Has Ben Heppner left it a little late to record the role? How well would he, or Von Otter, project in the opera house rather than in front of a microphone? Those who have heard Natalie Dessay live know that recording somehow doesn't do her voice and acting skills justice (although this recording is the best of hers I've yet heard). But let's not look a gift horse in the mouth! In an age of constant complaints that there are no competent singers left and when new versions of operas frequently add nothing whatsoever to the existing catalogue, this set should be welcomed as an outstanding achievement. For the specialists, it will not replace other versions of an opera which, as is often the case with the Strauss "majors," is well served on disc, but it must surely join them for bringing together an exceptional contemporary cast, for the superb achievement (almost an understatement!) of the Dresden players, and for the beautifully detailed recording: listening on headphones, I for one discovered a wealth of detail in the score I'd never heard before.

Presumably many people searching through this web site, rather than being specialists out to compare versions, are looking to buy and get to know Ariadne for the first time, and reading the reviews to see if this is a version they might purchase. The answer, without hesitation, is yes, with this set you cannot go far wrong.

My previous recording of choice was Kleiber (Janowitz utterly pellucid in the title role, Jess Thomas a heroic bacchus, Getzy a girlish but thinnish Zerbinetta) which had the chamber proportions of the piece perfectly represented. None of that here - we are in lush, big-house Strauss territory, but as is always the case Sinopoli looks beyond the lushness of the overarching melodies and gets into the fabric of the music. All of the witty details and leitmotifs are given their due. He allows plenty of space - some really expansive tempi - at lyrical moments but, as at the end of the prologue, really keeps things moving at other times. The recording quality is without fault, and the recording repays repeated listenings for the quality of the Dresden Stadtskapelle's playing. I have seldom heard the opera played with more refinement and skill.

As for the singers: well, it's a hand-picked cast and would be hard to better on record today. Casting this opera in the theatre is another matter - how would burly Ben Heppner's Bacchus look in person? Here he sounds thrilling, his beefy tenor riding with ease the strangling tessitura. No surprise to anyone who has heard his Enee, Lohengrin or Tristan, but glorious nonetheless. Deborah Voigt has practially taken posession of the role of Ariadne today, alongside most other Strauss heroines besides, and she sounds better here than as Sinopoli's Chrysothemnis. Steady, shining of tone and even from top to bottom. Especially at the bottom, actually - some spine-chilling moments in "Ein Schones war". More flexible than a Norman, more shining than a Price, more ample than a Schwarzkopf - altogether lovely. Dessay reminds us that there is more to Zerbinetta than her big solo in the Opera, which she could probably sing standing on her head, and sounds fuller and more womanly than most others, especially Battle (who has too tiny a voice) and Gruberova (who, in her later recording, sounds mannered and pert - and doesn't always sing in tune). She is at her best in the prologue, when her seduction of the composer is heart-stopping. Said composer is Von Otter on blazing form, the voice solid and secure as ever, the character's impetuosity and sensuality sketched with great skill. And she copes as well as any mezzo ever has in this cruel role.

No real stand-outs in the rest of the cast but no weak links either - but all in all it is a great record of Sinopoli's Strauss and has some glorious singing. Highly recommended.

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