This performance of Richard Strauss’ Ariadne was recorded live at the Frankfurt Opera in 2013. Applause comes only at the end of the opera proper; the fact that Zerbinetta’s aria goes unlauded, with acoustic and balance changes here and there, also leads me to believe that there were audience-free patch up sessions, not that it matters. The Prologue is the most engrossing I’ve ever heard, with the heated exchanges delivered with ferocity rather than playfulness and camp, and the frustration of the Composer genuinely upsetting. In addition, Zerbinetta’s flirting and advising seems utterly real; both characters are emotionally raw. It ends with a stunning, genuine bang, leaving us wondering what might happen.
And the singing is remarkable. Claudia Mahnke, a mezzo I’ve never before encountered, is the finest Composer since Tatiana Troyanos, with superb attention to text and dynamics and an appealing, plush voice, just dark enough to be effective and at ease with Strauss’ long lines. Serious without being petulant, thankfully. Franz Grundheber’s Music Master is a bit gruff but vivid, and the Dance Master of Peter Marsh is properly colorful.
I have no idea what the staging may have been like, but the performance of the opera itself, in contrast with the Prologue, is dead. The intro is beautifully played, the strings dark and curious. The trio “Schläft sie?” is expertly sung; the three are both prying and concerned. And then it becomes humdrum. Ariadne’s opening “Am I dead?” monologue is neither ironic nor pathetic; it’s uninflected. “Ein Schönes war” is simply a bore, and the most waited-for moment, the usually transportive “Es gibt ein Reich”, is vanilla pudding. Camilla Nylund has a fine voice–there’s not a note out of place–but as in her recent Lohengrin (also from Frankfurt–see reviews), she seems clueless. Is Ariadne crazy? Outraged? Hopeless? Is there darkness and woe in her soul, as there is in the music? Why doesn’t she emphasize “Totenreich”? How bored is she? Blah.
The quartet of the comic troupe that follows the aria is accurate, but again lacks energy and wit, despite Daniel Schmutzhard’s perky Harlekin. Zerbinetta’s aria is splendidly, indeed, amazingly sung by Brenda Rae, with insinuating self-assuredness, utterly true pitch, amazing high notes, trills galore, and plenty of face–the “face” that is otherwise missing from the Opera.
With the entrance of Bacchus one hopes for the best, since tenor Michael König’s offstage calls of “Circe, Circe!” are impressive, including the pair that start on a high B-flat. And indeed, he has very little trouble with the marathon singathon/duet that closes the opera, and neither, vocally, does Nylund. But neither fear nor rapture take hold; just good singing and good playing by the orchestra. I don’t think Sebastian Weigle’s conducting is to blame; I think we’re dealing with unimaginative singers. A pity, since they have all the notes.
Stick with the Decca recording under Kurt Masur with a transcendent Jessye Norman and all-star cast, or a similarly starry one on DG under Giuseppe Sinopoli with Deborah Voigt and Natalie Dessay.