In an age when opera stagings are permanently updated and discarded, the fact that Filippo Sanjust’s staging of Richard Strauss’s Ariadne auf Naxos is still in use after 33 years is something of an archeological experience. For many a Straussian, it may feel like some sort of operatic eucharist- the recurrent resurrection of the mythic production on video featuring Karl Böhm’s conducting with Gundula Janowiz and René Kollo.
Those 30 years have been kind on the production, the unpretentious classical aesthetics of which are more or less immune to the change of fashion. The three decades have also been rather kind on its Zerbinetta too. But they are very much part of her performance now. Edita Gruberová’s stardom has begun in this very production in the Wiener Staatsoper back in 1976, when Böhm declared her the absolute Zerbinetta. She dazzled audiences for years in this role with the instrumental accuracy of her fioriture and her intelligent and sensitive interpretation. Now at 63, Gruberová cannot compete with her former self. First, the standard is too high. Then there are moments of incertain intonation, some excursions above high c are uncomfortable, her low register has become even less reliable. But Gruberová does not seem ashamed of her seniority. Although the tonal quality remains crystal-clear and her roulades, scales and staccato are still impressive, her Zerbinetta is clearly not a young woman, but rather a veteran seductress who can now and then still charm the occasional suitor. It is an evidence of the Slovak soprano’s rare artistry the way she transforms what could be a handicap in the special feature of her performance. The day when she says her farewell to Zerbinetta, we will have to wait long before we hear the role sung again with such spirit and Echtheit.
Adrianne Pieczonka’s big creamy lyric soprano is tailor-made for the role of Ariadne; she is certainly the best I have heard in a long while. That said, I cannot really class her among the great exponents of this part. Along moments of surpassingly beautiful singing, there were too many examples of clumsy management of breath support. As a result, she forced many high notes, had her shallow-toned episodes, opted for odd Luftpausen and misfired a couple of pianissimi.
I can only understand that Michelle Breedt was not in a god day. Her voice did not really carry in the auditorium, the low register was not funcional and the ascents to high notes extremely strenuous. Her indisposition seemed to increase during the performance – and she only ended it out of sheer willpower. Although I dislike the overephatic non-legato-ish approach, one must acknowledge that she is a very convincing stage actress with illuminating word-pointing and imagination. I hope to see her Composer under better circumstances.
I have read a great deal about Lance Ryan and was extremely curious to hear him. I cannot deny, though, that the first impression was not really positive. His voice has an open raw nasal tonal quality that is the opposite of pleasing and the volume is not as generous as the Heldentenor repertoire might require. On the other hand, his vocal health and expert breath support are impressive. I have never, live or in recordings, heard a Bacchus who could sing those dangerously high-lying phrases with such ease. His ability to sing long stretches on the breath is truly amazing.
Ulf Schirmer is an experienced Straussian who knows how to balance vertical clarity with rich sonorities. The house band ‘s long history with this music is evident in the crystalline, ductile orchestral sound and the way the “theatrical” effects in the score were perfectly handled. Nevertheless, I have the impression that the performance was under-rehearsed. Ensemble was not truly polished and, with the exception of the leading tenor, the other main roles (including the Hausmeister) suffered from lapses of memory.
I HEAR VOICES 
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