If you dig carefully, you might come to the conclusion that “Ariadne auf Naxos” is an opera about art versus commercialism, or the merits of serious versus comic theater. However, the premise is mired in a confusing plot line concocted by composer Richard Strauss and librettist Hugo von Hofmannsthal. Fortunately, film director William Friedkin has taken it into his hands and perked it up with a glossy Hollywood glow.
The production of the Los Angeles Opera, at the Music Center, is now a farce loaded with Marx Brothers antics. There are more shticks than you can throw a stick at. For instance, a conch shell suddenly develops legs and dances.
Two marvelous sets have been created by Edwin Chan, an associate of Frank Gehry. In the first act, we find a luminous white mansion with a flight of steps in the middle and lopsided ice blue doors that allow for frantic entrances and exits. In the second act, he imagines the beautiful island of Naxos with a rock cave and churning sea. Adding to the levity are the creative costumes thought up by Sam Fleming.
The story concerns the entertainment planned by a wealthy patron of the arts. He hires a composer to write a serious opera, which is to be followed by a comedy. The composer is distraught when he is suddenly told that the patron wishes the two groups to perform simultaneously.
The second act shows the lachrymose Ariadne on the island of Naxos where she has been abandoned by the dastardly Theseus. She is bemoaning her fate and wishing for death. Her three handmaidens are paying her no attention. Well, what does one do on an island where there is no radio, television or movies? Two nymphs, with pails and molds, are making real sandcastles along the shore while the third young lady stands at her easel painting the scenery. All kinds of wild things happen. The clowns, led by the luscious Zerbinetta, arrive on a surfboard in the most fanciful costumes. A series of puppets appear-seal, dolphin, whale.
Ariadne fails to respond to the “carpe diem” dictum of Zerbinetta and is finally carted off by Bacchus, the God of Wine and Revelry. The opera now becomes serious and ends with passionate arias about life and love.
Friedkin has made this into a merry entertainment, working with an amenable cast of excellent singers. Well known in Europe, many are making a mark here. Stealing the show is the gorgeous Lyubov Petrova as Zerbinetta, who glides through a most difficult aria with aplomb. (She is applauded by the whale which claps its flippers.) Petra-Maria Schnitzer, as Ariadne, is also quite wonderful, not only for singing beautifully, but for lying a good deal of the time with her head on a rock.
Lioba Braun is believable in the trouser role of the composer and Peter Seiffer shows off a powerful tenor voice in the small role of Bacchus. Others who acquit themselves well are Martin Gantner, Georg-Martin Bode, Gary Rideout, Jinyoung Jang, Hugh Russell, Ian Thompson, Joseph Frank, John Atkins, James Creswell and Peter Nathan Foltz. The three delightful nymphs are Sarah Jane McMahan, Deane Meek and Joohee Choi.
The Los Angeles Opera Orchestra was under the direction of Kent Nagano, who has a magic touch. The music of Strauss is gorgeously lush, as usual, and serves as a good excuse for presenting this problematic opera. Those who think that opera is no fun should see this version of “Ariadne auf Naxos” for some marvelous music, excellent singing and lots of laughs. Bravo Friedkin, Chan and Fleming. And a special nod goes to Michael Curry for the lovable puppets.