Review: ARIADNE AUF NAXOS, Opera North - The Lowry
Photo credit: Richard H Smith
As a part of their 2022-23 season, Opera North are currently touring their production of Richard Strauss’s Ariadne auf Naxos, which has been directed by Rodula Gaitanou and is situated in a 1950s film studio. Compositions by Strauss are accompanied by a libretto from Hugo von Hofmannsthal for this one-act opera and its prologue.
In the prologue, two groups of performing artists – one, the cast of an opera seria and the other, a commedia dell’arte troupe - prepare for their two very different performances in front of the film studio’s cameras. The composer of the opera is against his serious work of art being followed by a comedic performance but due to a dinner overrunning, the studio are on a tighter schedule and in order to be finished in time for the firework display at 9 o’clock, both performances must combine and be performed simultaneously.
Whilst figuring out how to make the new version of the production work, the composer and head of the comedy troupe Zerbinetta unexpectedly form a deeper connection, which gives them both inspiration for their part in the production. In the opera itself, Ariadne is abandoned on the isle of Naxos, heartbroken and awaiting death. The comedy troupe appear, attempting to cheer her up and Zerbinetta shares advice and truths from her own life in hope that it will help Ariadne. Soon the young god Bacchus arrives and after some confusion over mistaken identity, the two gradually fall in love and Ariadne goes with the god, taking Zerbinetta’s advice onboard.
Set design from George Souglides is simple yet extremely effective and cleverly thought out as it brings the behind-the-scenes action to life in the prologue and integrates various areas of the film studio, whilst maintaining a distinguishable difference between each location. With dressing tables, a rehearsal piano, the film set in the background, and industrial structures including the office of the composer overlooking the whole studio from above, there’s lots going on visually without it being overwhelming. Scenography for the opera itself is even simpler and the placing of film cameras and follow-spotlights accompanied by the composer and film crew on the edges of the stage to remind the audience that it is a film set.
Hofmannsthal’s original libretto is in German, which is maintained for the opera, however the prologue is instead multilingual. There are screens either side of the stage with English subtitles to translate the words being sung onstage for the audience, but it is still confusing to hear the performers constantly flitting between three different languages (German, English and Italian), and it feels as though it would flow smoother and be easier to focus on if it were all in German.
Without a doubt, the most impressive part of the production is the musical talent of the company. Conducted by Antony Hermus, the orchestra of Opera North provide a glorious sounding score for both the prologue and opera to accompany the vocal performances of those onstage. All performers sing excellently but it has to be said that the women of the company dominate the production, particularly Elizabeth Llewellyn as the Prima Donna/Ariadne, Jennifer France as Zerbinetta, and Hanna Hipp as The Composer. Each of these women contribute different qualities to the production, and all three of them possess astonishing vocal talent.
Enlightening audiences on the competition between high and low art forms, Ariadne auf Naxos is a wonderful story that cleverly mixes a tale of sorrow and heartbreak with comedy and is perfectly set up by its prologue. The performers and musicians of Opera North expertly work together to give a splendidly beautiful musical performance.
**** Four stars
Reviewed by: Jess Dalloway
Ariadne auf Naxos plays Nottingham and Newcastle over the next two consecutive Fridays. For more information, please click here.