Ariadnes and Zerbinettas
Last night I went to see Loy’s ROH Ariadne auf Naxos. Somewhat in preparation I watched the Zurich/Guth production. That already put some things in an interesting perspective, although I wasn’t anywhere nearly as coherent nor did I go into as much depth as R,onR?‘s deconstruction which I then read and warmly recommend to all who haven’t read it (recently). It seems like it all added up to keep my brain cha-ching-ing throughout last night’s performance.
I want to stress that I am extremely fond of the Ariadne; both of what it is about and of how it expresses it. Last night, though, it occurred to me that it is about so much more than what I had thought thus far.
Sadly, today I was so extremely busy at work that all I could do upon return home was hit the bed with a book and a cup of tea. For now I have some disparate thoughts, which I wanted to share in hope that things will take shape in my brain overnight:
- Karita Matilla: excellent both vocally and dramatically
- great Prologue setting.
- heavy on contrast. Maybe some may say too heavy but I think just enough. (A tad of) vulgarity is a given in this opera and handled carefully it sets off Ariadne’s character beautifully.
- not much to do during Großmächtige Prinzessin – I feel that humongous coloratura-fest needs a lot of action, otherwise it seems like vocal gymnastics for the sake of it.