Voigt-less
Clearly, I need to pay more attention to the local opera news. Deborah Voigt bowed out of Ariadne auf Naxos in July, but I didn't realize it until yesterday when I read the Trib's review. I had been looking forward to this opera since it was announced last year, and Voigt was a big reason why. She's a great performer, and it's one of her signature roles. I also have enjoyed every Richard Strauss opera I've seen, and this one has a sure-fire premise: a mash-up of grand opera and commedia dell'arte.
To some extent, my disappointment is indicative of an opera that contrasts the ideal with the mundane. Amber Wagner, the soprano brought in to replace Voigt, is a fine singer, but Voigt has a level of theatricality which was notably missing from the wooden Wagner. In contrast, Anna Christy shone as Zerbinetta. The rest of the cast was okay, but Alice Coote was the only other standout. Andrew Davis showed once again that he was able to drown out singers, even with a much-reduced orchestra. I also had to deal with noisy neighbors (we weren't in our regular seats) and a disappointing meal at the Lyric's 1st floor dining room.
The opera itself was great, though. I think I'll have to see it several times to completely absorb its complexities. One of the reasons I like Strauss is that he's more than willing to explore some pretty deep themes in his works. Strauss and his librettist, Hugo von Hoffmannsthal, use the aforementioned mash-up (the opera and the commedia dell'arte performances are to run concurrently - so the host can have his fireworks start on time) to explore big themes of noble self-sacrifice vs. realistic practicality, as well as create a lot of humor. It's a tricky balance which I think they pull off. I'm just sorry that Chicago Opera Theater shies away from operas recently performed at the Lyric, because I'd love to see their take on the material. The 37-piece orchestra would work better in their smaller theater, and COT has consistently shown a willingness to push the envelope which I think would work well with a work like this.
To some extent, my disappointment is indicative of an opera that contrasts the ideal with the mundane. Amber Wagner, the soprano brought in to replace Voigt, is a fine singer, but Voigt has a level of theatricality which was notably missing from the wooden Wagner. In contrast, Anna Christy shone as Zerbinetta. The rest of the cast was okay, but Alice Coote was the only other standout. Andrew Davis showed once again that he was able to drown out singers, even with a much-reduced orchestra. I also had to deal with noisy neighbors (we weren't in our regular seats) and a disappointing meal at the Lyric's 1st floor dining room.
The opera itself was great, though. I think I'll have to see it several times to completely absorb its complexities. One of the reasons I like Strauss is that he's more than willing to explore some pretty deep themes in his works. Strauss and his librettist, Hugo von Hoffmannsthal, use the aforementioned mash-up (the opera and the commedia dell'arte performances are to run concurrently - so the host can have his fireworks start on time) to explore big themes of noble self-sacrifice vs. realistic practicality, as well as create a lot of humor. It's a tricky balance which I think they pull off. I'm just sorry that Chicago Opera Theater shies away from operas recently performed at the Lyric, because I'd love to see their take on the material. The 37-piece orchestra would work better in their smaller theater, and COT has consistently shown a willingness to push the envelope which I think would work well with a work like this.