Ariadne Auf Naxos: Slapstick Strauss And A Right Pair Of Divas

Group Editor Andrew Palmer enjoys an all-round first-class production at Opera North, sizzling with comic finesse and music brilliance, and delivered with panache.

Who would have thought it? Opera North’s dazzling production of Strauss’ Ariadne auf Naxos, with its themes of high art clashing with low art, over blown egos and elitism, still resonate in 2023.

Hugo von Hofmannsthal’s brilliantly entertaining mingling of backstage comedy and mythological opera had all the ingredients for a thoroughly enjoyable and memorable night out: compelling, engaging, witty.

Glorious music beautifully performed, first class choreography, wonderfully designed set and lighting, great costumes, a little slapstick, a couple of sparing prima donnas and an audience that appreciated not just the humour but the whole presentation. What more could you ask for?

The production is part of an international collaboration with Gothenburg Opera, where it was first staged in 2018 under director Rodula Gaitanou, who makes her directing debut with Opera North.

As the curtain goes up we are transported to the hustle and bustle of a busy 1950s film studio. In a room above, a composer is finishing the score of his first opera. The Major-domo (John Savournin) informs the Music Master (Dean Robinson) that his employer, who commissioned the composition, has ordered that his this work of high seriousness be followed by a comedy and then a firework display.

Picture the scene; artistic tensions begin to build as the opera singers and the comedy troupe arrive. An operatic prima donna (Elizabeth Llewellyn making her Opera North debut) enters with pooch in her arms, cleverly caught by a member of the troupe in a moment of surprise, who then proceeds to rub the vivacious Zerbinetta (Jennifer France) up the wrong way.

The composer (mezzo-soprano Hannah Hipp) passionately displays frustration and emotion with some fine warm singing.

The second part has a more minimalistic feel and sung 100% in German, rather than the mixture of English with a sprinkling of Deutsch, in the first act. The composer, cast aside, has to make do with directing camera shots from the side, whilst Ariadne sits atop a rock about to fall in love with Bacchus, (Ric Furman, who stepped into the role a week ago).

There are three annoying over-the-top nymphs who fuss around Ariadne (Amy Freston, Laura Kelly-McInroy, Daisy Brown) and impress with fine singing.

We were treated to two wonderful vocal delights. Ariadne delivers a shimmering lyrical, powerful and sensitive aria with lovely phrasing and legato singing; the coquettish Zerbinetta outshining with her technically demanding coloratura, a kind of Straussian version of the Queen of the Night aria, that soars incandescently high into the rafters.

To cut a long libretto short, everything is tied up in a perfect ending complete, of course, with fireworks and where lighting designer Simon Corder tastefully brings the opera to an end.

The chamber ensemble based in the pit was on top form. Antony Hermus’ conducting brought out Wagnerian sounds, wonderful dynamics, crescendos, sensitive pianissimos, rhythmic precision delivered with enthusiastic zest.

The acting skill of Commedia dell’arte artistes (Jennifer France, Dominic Dewick, John Savournin Alex Banfield and Adrian Dwyer) were a treat to watch with on the spot comic timing. Spoken articulation and diction flawless; part and parcel of fine storytelling.

Don’t miss this one, see below for dates it appears across the north.

Antony Hermus and Rodula Gaitanou have emphatically proved that you don’t have to travel south for superlative performances, Opera North is an all-round quality experience.

I wonder if the Secretary of State for Culture, Media and Sport, Lucy Frazer, MP for South East Cambridgeshire, is aware of the glorious cultural scene in Leeds, not just the exceptional Opera North, but the noteworthy Leeds Lieder and Northern Ballet, just three examples, if not, I would advise her to get to Leeds post haste.