OPERA REVIEW: ARIADNE AUF NAXOS
1 MAY/11

JOHN COULBOURN - QMI Agency
Rating: 4 out of 5

TORONTO - Prevailing wisdom notwithstanding, coalitions are nothing new — even in the world of opera. And for proof, cast an eye and ear to the Four Seasons Centre, where, under the tutelage of the Canadian Opera Company, high art and low comedy have found a way to work together to dominate the stage in a work titled ARIADNE AUF NAXOS — with a little help from composer Richard Strauss and librettist Hugo von Hofmannsthal, of course.

On the high art front, it is the story of Ariadne, abandoned wife of the heroic (but caddish) Theseus. Finding herself all alone on the deserted island of Naxos, she takes comfort in the arms of Bacchus, inadvertently setting a pattern of alcohol abuse for spurned lovers throughout history, it seems to me — but we digress.

It’s a touching tale, full of mythical pain, pathos and passion — and a fair bit of high comedy too, thanks to an early sitcom concept cooked up by composer and librettist that results in the tragic opera being invaded during its first performance by a troupe of comedians from the base world of musical comedy. The collision of two worlds is set up in a back-stage prologue, effectively staged in this production from the Welsh National Opera by director Neil Armfield.

Backstage at a private theatre in Vienna, a young composer (mezzo-soprano Alice Coote) prepares to debut a serious new work, but as his cast assembles, it is revealed that they will share the stage with a troupe of music hall comedians engaged to perform directly after them  — a revelation which outrages all involved. But when word comes from the master of the house that, due to time constraints, they are expected to perform simultaneously, things really begin to fall apart. Or at least, that’s how it seems, until the curtain goes up on the second act and artists, high brow and low, get serious about making art.

It’s a delicious conceit, but apparently fate wasn’t content with the twists and turns cooked up by composer and librettist as this work took to the Four Seasons Stage on Saturday. First off, soprano Adrianne Pieczonka, a COC favourite, withdrew from the role of the Prima Donna/Ariadne due to illness, surrendering the stage to soprano Amber Wagner for the opening performance. Hot on the heels of that announcement came word that soprano Jane Archibald, cast as Zerbinetta, was suffering from an infection and begged indulgence from her audience during her performance.

In short, it seemed to be the kind of performance where just about anything could happen — and indeed, it did, at least on the plus side of the ledger. While Toronto opera fans have learned to justifiably treasure Pieczonka’s artistry, one suspects there were few in Saturday’s audience who felt they were making do with second best in Wagner’s touching, vocally thrilling performance opposite the magnificent tenor Richard Margison as Bacchus. And if illness diminished Archibald’s bravura performance as the touchingly madcap Zerbinetta, backed by baritone Peter Barrett, bass Michael Uloth and tenors Christopher Enns and John Easterlin, then one can only conclude that a performance delivered at the peak of health would, quite simply, be one for the ages. And it didn’t stop  there.

With the COC Orchestra under the baton of  Sir Andrew Davis, making a welcome Toronto return, and a supporting cast that also included tenor Roger Honeywell, baritones Adrian Kramer and Doug MacNaughton, mezzo Lauren Segal, bass-baritone Richard Stilwell and sopranos Teiya Kasahara and Simone Osborne, director Armfield and his creative team (including designers Dale Ferguson and Tim Mitchell and choreographer Denni Sayers) came up with a coalition that not only worked, but soared. In the end, it seems, all it takes is a lot of good faith and a willingness to work together.