Customer Reviews

Richard Strauss - Ariadne auf Naxos / Levine, Norman, Battle, Troyanos, Metropolitan Opera

5 star:		(13)
4 star:		(6)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

Richard Strauss' operas are not as easy to stage as the conventional opera, and finding a cast to sing them equally as difficult.(A bit like Wagner). However, this production from the Metropolitan Opera has not only managed to pull it off, but have done so with a win, win formular. The cast is as powerful as the music itself, then there are the sets, costumes and direction, all equally mastered like a master craftsman working on a prized sculpture.This production has an extremely strong female cast headed off by Tatiana Troyanos who gives the performance of her life as the Composer. Almost bringing the house down in her final statement in the prologue not to mention her skill as an actor. Her singing of "Seien wir wieder gut.....Musik ist eine kunst" blew me away. What a pitty that's all she has to do. One would like to hear her glorious tones again.Then we have Kathleen Batttle as Zerbinetta. Ah! what warm tones and brilliance of voice and character that Kathleen brings to her role. When I heard Kathleen sing "Großmächtige Prinzessin, wer verstünde nicht" I thought that I had died and gone to heaven, what control. Jessye Norman! what can one say of this veteran performer in the title role. The power, the sheer beauty and elegance of her vocal powers. This woman can not only handle the high notes that Strauss demands but those low chest notes roll off her tongue like wine from a bottle. I have never heard Ariadne sung with such conviction, strength and passion. These three singers aptly cast certainly drive this opera home. Barbara Bonney, Gweneth Bean and Dawn Upshaw as Najade, Dryade and Echo respectfully hold their own exceedingly well and balance off the female ensembles with such precission like a well run military machine and enjoying every minutes of it. Then there are the men. I must say that I have never been a great fan of James King as I have only heard him singing Wagner, and I found his voice not quite up to the challange of all that power. But! having seen his performance here I must say he seems much more capable although I would have prefered a much stronger voice, eg Ben Hamper. However his performance and presence are passable. The rest of the men are excellent in their respective rolls especially Stephen Dickson as Harlekin.
The Metropolitan Opera Production team are to be congratulated on such a marvelous production. The sound and vision are not only clear and undistorted but also well balanced.
This would have to be my favourite Opera DVD to date. I look forward to viewing more operas from the Metropolitam Opera in the future.
It is so nice to see an opera production staged as the composer intended and NOT as a contempary nightmare. (I am not a fan of contempory productions and make no apology for it). Which seems to be the way some opera houses are heading these days. What a pitty, it's hard enough getting people into an opera house because the operas are sung in a different language, let alone scaring the pants off them with a wayout production that no one, but the prodction team seems to understand.
Thank you Metropolitan Opera for this wonderful production of Richard Strauss' "Ariadne auf Naxos."

"Ariadne Auf Naxos" is Richard Strauss' scintillating foray into the world of neo-classicism. The brilliant innovations of "Salome" and "Elektra" were history, and here, Strauss luxuriated in the beauty of sound as an end in itself. Employing a chamber orchestra of 36 pieces with all the fluency of an master, he, and his librettist, Hugo von Hofmannsthal, conjure a delightful two-part opera consisting of a Prologue, which is mostly sung in recitative, and a full-scale operetta boasting some of the most delectable melodies and set-pieces to be found in all opera. Jessye Norman is wonderful as the forlorn and abandoned Ariadne. Kathleen Battle is superb as Zerbinetta, tackling "Grossmachtige Prinzessin" - a virtuoso aria that is to the coloratura soprano what Rachmaninoff's 3rd piano concerto is to the pianist - with a deceptively cavalier aplomb and grace. The rest of the MET cast is a delight. The sets are simple and straightforward, as befits this "play within a play." I watched this performance twice at one sitting, and have to admit getting teary-eyed at the end as Bacchus and Ariadne resolutely face the future, secure in their new love. Strauss' glorious music was never more endearing: pair it with the professionals at the MET and you have an exquisite evening's entertainment. Richard Strauss is sometimes criticized as difficult or too modern: "Der Rosenkavalier" aside, this opera, and subsequent masterpieces such as, "Capriccio," belie such accusations. Strauss, as in this opera, could write music of surpassing mellifluousness. This is a wonderful performance of an enchanting opera.

I am relatively new to opera, and this DVD introduced me to Strauss' Ariadne Auf Naxos. I don't quite have the words to describe how I felt after viewing the whole thing, let's say I'm blown away. The three leading ladies were absolutely superb in their respective roles, but Norman gave me the most goosebumps. I could never imagine such waves of sound coming from a human throat! Can you say "dramatic"? Such a powerful sound coupled with such dramatic insight into the agonizing character makes for a knock-out of a performance. Kathleen Battle is not a true coloratura but she has the agility and high notes to pull off a stunning Zerbinetta. I've always admired her pure, crystal-clear tones and it's great hearing her sing a ditsy happy character. Troyanos was always known to give stellar performances with equal effort in the singing and the drama. The role of the Composer displays her talents extremely well as there are lots of high notes (for a mezzo anyway), and she gets to portray a jittery worry-wart.

I actually enjoy a silly plot as such found in Ariadne auf Naxos; not everything has to be serious, uptight and boring, which is the impression of opera on many of us teenagers. I thoroughly enjoyed this opera, especially Norman's performance. I completely disagree with the person who said this DVD is overrated. Well, see for yourself, it's really that good!

Kathleen Battle just about steals the show. With the likes of Norman and King that's saying something. Everyone is in top form. I think King sings the cruel music of Bacchus with stunning accuracy and power along with beautiful tone. Some have been quite critical of his performance! Do we have the same dvd? Sets and costumes are perfect accepting Bacchus's outfit - looks like he's going to a court ball in honor of Marie Antoinette. Everything else is a matinée of great theater. Levine and the Met orchestra are in top form. The endearing and moving composer of Troyanos is a triumph. Jesse Norman sings a marvel of an Ariadne. Her tone, power and lush timber are mesmerizing. All in all, quite a performance! One of the Met's best dvd's.

This is one of my very favorite operas--because I like Strauss, and because I have always liked the "opera within an opera" effect he uses here. The star turn in the first act by Tatiana Troyanos as the composer is wonderful. Strauss loved his female singers, and the parts of Ariadne and Zerbinetta are stunners. Jessye Norman sings her heart out as Ariadne. She also sings it on CD, but there is something about the sheer concentration and conviction she has that makes her riviting to watch.

The opinion seems divided here on Kathleen Battle--but I am a fan, and I think that her coquettishness works its charms in this part. She has the range, and hits the notes, while dancing around on stage. Her grand aria is a workout, and she takes it on with aplomb. Another reviewer here thinks a more steely voice is more appropriate to this role, but I think the typical light coloratura of K.B. actually reflects the lightness of this character very well.

The sets are a little heavy, and not as good as the new Met Production. But it is a chance to see two of the most famous prima donnas share the stage together. Not to be missed: the intermission bonus section of James Levine massaging the two massive egos. Very funny, if you know the history behind it.

Due to this DVD,I have had to change my approach to singers.I will always be the #1 fan of La Splendissima Leontyne Price.I was never particularly impressed by Ms.Norman as an artist.I found her to be showy with little to no substance.I,being somewhat jaded occasionally,never would have believed 1 performance could make me do an about face.There are not adequate superlatives to express the level of performance I witnessed.Jessye Norman's Ariadne is one for the ages. I found her comically delightful as the Primadonna.Ariadne's aria"Es gibt ein Reich" will never be sung more lyrically and compassionately.Kathleen Battle,whom I adore, was wonderful and coquettish as Zerbinetta.Tatyanna Troyanas was a fanastic Composer.The always wonderful Met Opera orchestra was phenomenal.This is the "Ariadne" that must be in everyone's collection.The final scene will take your breath away with it's sheer beauty. Viva Jessye!

I found this a delightful production. The womens voices are really in fine form. Having seen three different productions with all different singers it is wonderful to have one on DVD that is somewhat worth it. Jesseye Norman really does the title role justice. She looks regal on the stage and her voice and diction are smooth and lush. What can one say about the late Tatiana Troyanos. All the recordings I have with her are great. She is a must have for Strauss and Wagner interpretations, should she be in pants or a dress. Battle is beautiful in the role of Zerbinetta and she sings it well. Unfortunately the CD recording (not the soundtrack of this DVD but done in the studio) captures her voice much better. In the DVD she slides up and down the beautiful arpeggio that is stacatto and distinct. James King does perform the role well but one must always remember that all the tenor roles of Strauss are killers. Look at the "Singer" in Rosenkavalier, the Emperor in Frau, the Italian Singer in Capriccio. All have to perform in the high range of their voices with hardly any previous appearance if any. Strauss loved the female voice for sure but really mad the men work at it. King does an admirable job for a person at 62.

I recently had the pleasure of seeing the recent production at the Seattle Opera with Jane Eaglan as a late replacement in the title role. She was wonderful. Kimberly Barber in the trouser role and Jane Giering-de Haan as Zerbinetta. An incredibly memorable performance. Seattle Opera really have fun when staging something like Ariadne.

A note to DAK review. The reason that the picture and sound pause for a second is due to the dual layer formatting of the DVD.

Just for the overall I would really recommend this DVD just because of the singers and the production. It is something special to have the initial production of a great piece revived and then captured on film. I would loved to have seen the initial 1962 production with the stellar cast of Rysanelk, d"angelo, Meyer and Jess Thomas all conducted by Karl Bohm. Too bad that is now on film. Would have been memorable.

This production of Ariadne auf Naxos is a delight from start to finish. Tatiana Troyanos has the vocal weight and acting ability to make the tantrums of the 13-year-old composer great fun to watch and to hear. (Remember that both Mozart and Rossini wrote their first operas at even younger ages.) The major-domo and the dance master are comic tours-de-force.
The minimal set of the second act is just what such a composer would have ordered. The inappropriate costumes of Naiad, Dryad, and Echo are just what the nouveau-rich patron would have expected/demanded. Jessie Norman is great both as the bitchy soprano of act I and as the death-obsessed Ariadne of act II. James King deliberately acts his age to connect the ageing tenor of act I with the "youthful" Bacchus of act II, but he still sings like a god. Kathleen Battle is a delight as Zerbinetta. Compared with her CD of the role, she is better in the recitatives on the DVD, but not quite as good in the aria, "Als ein gott kamm jeder gegangen."

First the good news: The female cast in this recording/performance is superb, all three leading voices are mindblowing. I was enchanted by Normans beautiful voice, its scope and perfect control (and excellent German pronunciation also), her phrasing is sometimes mindblowing. The same is true for Battle and Troyanos. But who got the idea to cast a singer whose golden times have past about twenty years ago (James King)? The booklet states that "his experience dates back twenty years (...) and remarkably, he was in his early 60s when this film was made, but it shows him in fine voice...". This statement says everything and is warning enough! Kings high notes are often painfull, his voice strained, destroying (at least for me) a little bit the great finale duett. He is no match for Norman here! The "Buhs" for him at the end show that also some of the audience of the evening agree with me.
Conclusion: Due to Kings appearance this sadly is not an ideal cast (therefore only 4 stars), but for the female voices it comes very close. Norman alone is worth listening to. Image quality/sound is good too, Levine does a fine Job.

Flawless performances by Troyanos, Norman, and Battle. You will find yourself watching and listening to this over and over. This is by far one of the best opera/dvd discs that I own!