Search - Richard Strauss, Kurt Masur, Jessye Norman :: Strauss - Ariadne auf Naxos / J. Norman · Gruberova · Varady · Frey · Bär · Fischer-Dieskau · Asmus · Finke · Lind · J. Kaufmann · GO Leipzig · Masur

This is what opera is all about!

OperaOnline.us | Boston, MA | 07/03/2005

(5 out of 5 stars)

"This 2-CD offering of Strauss; "Ariadne auf Naxos" is a digital remastering of a triumphant 1988 recording featuring the incomparable Jessye Norman singing the role of Primadonna/Ariadne, and what a thrill it is. It is the tale of a traveling troupe sent to entertain a Viennese nobleman who expects that on short notice the cast will sing its opera seria, Ariadne auf Naxos not before and not after, but during the performance of an opera buffo, The Inconstant Zerbinetta. "It is also his Lordship's pleasure," the Major-Domo instructs the composer, "that both pieces, the comic one and the tragic one, complete with all the characters and the correct music, just as was ordered and paid for, be served up on stage simultaneously." It is in this context that the music of Strauss and the witty libretto of Hugo von Hofmannsthall combine to make this piece the classic it is. First, the music: In the era when music was geared toward the audience, the music here is both melodic and, in its pacing, lively. The human dilemma faced by a troupe of performers, paid to do the near-impossible on short notice, to everyone's chagrin, is told with wit and style in a remarkably adept and timeless libretto that is as sharp today as when it was first written. Kurt Masur's conducting of the Gewandhausorchester Leipzig, coupled with brilliant performances from a talented cast headed by Jessye Norman, singing at the height of her career, Julia Varady, singing the role of The Composer; Edita Gruberova, singing the role of Zerbinetta; Paul Frey, singing the role of Bacchus; and Dietrich Fischer-Dieskau, singing the role of The Music Master, make this version of this witty opera, one worth owning. The remastering is even and clear, the music is delightful and melodious, and the delivery of both the spoken words and music of the performers is sharp and involved. The accompanying booklet includes the full libretto in German and English and a brief descriptive piece of the story within the story. On the downside, the booklet lacks even a perfunctory biography or production shots of the performers. Still, Philips deserves a "tip of the hat" for re-releasing this version on a new CD."

An Enjoyable Set With Many Good Qualities

Timothy Kearney | Hull, MA United States | 12/03/2005

(4 out of 5 stars)

"ARIADNE AUF NAXOS has to have one of the cleverest plots and some of the most sophisticated music in opera thanks to the ability and creativity of composer Richard Strauss and librettist Hugo von Hofmannsthall. The prologue tells the story of an opera company that plans to perform a serious work but the commandant of the opera house, who is also the financial backer, wants a comic ballet performed instead. The composer wants to quit but can't afford to so a compromise is suggested that will be a combination of the two works "Ariadne" and "The Inconstant Zerbinetta." The second act of the opera is the opera itself.



This particular work requires performers who can both act and sing, and this quality has to come across both when staged and recorded. This set has a good combination of acting that comes across in the prologue and the singing of the opera is phenomenal. The two female leads Jesse Norman and Edita Gruberova who are the Prima Donna/Ariadne and Zerbinetta respectively each bring special qualities to the work. Norman handles large roles beautifully and this is evident especially in "Gibt es kien Hinueber" the finale of the opera. Gruberova's voice is perfectly suited for the role of Zerbinetta but she also had the ability to maneuver Strauss' demanding music. I'm not always certain that Paul Frey's Tenor/Bacchus is as strong as it could be, but in the most demanding parts of his role, there is an intensity that cannot be matched. Julia Varady does a good job as the composer and as far as Dietrich Fischer-Dieskau is concerned, I'm not sure there's any role he doesn't handle superbly.



Strauss' music, like that of his role model Richard Wagner, is for many an acquired taste and there can be disagreements as to which set is best, whether the post-war casts outshine more modern casts, and which conductor is truest to the score and composer's attention. Getting into that debate could prove futile, but as far as consistency is concerned, this is a solid set with wonderful performers and it's certain to be a favorite for years to come.



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