Also this issue:

Music Man
James Sugg finds songwriting method amid madness.
-Juliet Fletcher

Coming Out of the Dark
A move into white for Thomas Chimes and vibrant work from Stuart Netsky light up Locks Gallery.
-Robin Rice

Preston Foerder
-Debra Auspitz

Curtis Opera Theatre's French Comic One Acts
-David Shengold

River North Chicago Dance Company
-Janet Anderson

Funky Junk Auction/Bike Parts Art Raid
-Debra Auspitz

City of Angels
-David Anthony Fox

Fiction
-Toby Zinman

April 10-16, 2003

opera

Ariadne Auf Naxos

David Shengold

Ariadne auf Naxos, now in a very enjoyable new production at the Opera Company, thematizes the pitfalls of theatrical life -- aptly, since opening night brought glitches in the (too complicated) set-related business given to the singers and shockingly poor work by one of the follow-spots, leaving both leading ladies stranded in the dark at key points.

Fortunately such things clear themselves up, since musically this Ariadne certainly merits a visit. (Plus, this is the rare opera that true "theater people" tend to love.) While far from the "rarely performed jewel" OCP claims (it's in the Met, San Francisco and Sarasota repertory this season, and Sawallisch and the Orchestra gave a memorable reading in 1995), Strauss and Hoffmanstahl's brilliant 1916 work may surprise audiences new to it by the staggering beauty of the music and the plot's boldness of postmodern invention. An opera troupe, engaged to entertain a rich man's guests with a solemn new classical piece (Ariadne, abandoned by Theseus, is rescued by Bacchus) and insulted to learn that they're the opening act for "low" commedia dell'arte performers, gets a further shock when the rich guy decides he wants the two shows done simultaneously. New art (and new loves) result.

Jayne Casselman impresses by a sturdy technique rendering full justice to both extremes of Ariadne's testing range; if not especially individual, her voice has power and a nice spin at the top.

Stefan Vinke's Bacchus (whom director Peter Pawlik interestingly styles as a confused young rich kid) fares decently enough in this famously tough sing. Jennifer Welch-Babidge is fresh-voiced and engagingly gawky as the high-flying Zerbinetta: a solid initial portrayal that will surely grow in dramatic detail and vocal breadth.

In a generally fine supporting cast, the most impressive vocalism comes from Jochen Schmeckenbecher's nimbly double-cast Music Master and Harlequin, Kristine Winkler's sparkling Naiad and Curtis baritone Dimitrie Lazich's resonant-toned Lackey. But the evening belongs to Ruxandra Donose, who throws her heart and very soulful mezzo into the young Composer's impassioned utterances. Brava! Pawlik's Art Deco faux black marble set is, well, hideous, but he certainly effects some scenic and dramatic coups. After only so-so playing in Così, Maurizio Barbacini and his pit forces come through with strong work in Strauss' miraculously orchestrated score.

Ariadne auf Naxos

Through April 19, Opera Company of Philadelphia at the Academy of Music, Broad and Locust sts., 215-928-2110