A Tale of Two (or Three) Zerbinetti

Classic Zerbinetta

Reri Grist at Salzburg, 1965

Karl Böhm

21st Century Regie Zerbinetta

Elena Moşuc at Zürich, 2006

Christoph von Dohnányi

Malibu Zerbi

Natalie Dessay in Paris, 2003

Michel Plasson

Ariadne Auf Naxos – Zürich 2006 (Part 3: More Questions than Answers)

When the curtain opens on the “Opera” proper, we are in a replica of an actual Zurich restaurant.

• Are we literally in the restaurant, or is this the set for the Opera?

• Do we feel sad for Ariadne’s plight, or do we admire the Prima Donna’s artistry?

• Are we supposed to know that the servers are the comedians and nymphs? Is that part of the Opera or is it "opera"?

• The nymphs later are patrons in the restaurant. Is this literal, or are we supposed to understand this as part of the theatrical experience?

• The comedians each play three roles in the Opera (or opera.) Do we take note of this, or are we not supposed to realize they are the same people?

• It's played very realistically. but just how literally are we supposed to be taking this restaurant scene?

Tuesday Late Edition – The Complete 2012 Salzburg Ariadne

Someone has uploaded the entire performance from last Sunday!  The opera proper starts at about 1 hour, 30 minutes, should you wish to skip the play portion. No subtitles, but a chance to see an interesting staging and hear some wonderful singing.  Check it out!

Salzburg August 5, 2012

Emily Magee - The Prima Donna/Ariadne
Elena Mosuc - Zerbinetta
Jonas Kaufmann - The Tenor/Bacchus

Vienna Philharmonic Orchestra

Daniel Harding music director
Sven-Eric Bechtolf stage director

Sunday Extrablatt – Salzburg Ariadne 2012

I just watched the "original" Ariadne auf Naxos live online from Salzburg, and I really enjoyed it. Although I have to admit the play section left me a bit cold, in great part because there were no subtitles. I know enough German to get the gist of what is going on, but not the nuances. Though I am not sure there were many nuances, judging from Zerbinetta's (the blogger, not the character) review, which is quite detailed and perceptive.  

Ariadne Auf Naxos – Zürich 2006 (Part 1: Is this the real life?)

 “Is this the real life? Is this just fantasy? 

Caught in a landslide, No escape from reality…”

- Queen, Bohemian Rhapsody

I keep trying to write my review of the 2006 Zürich Opera performance of Ariadne auf Naxos (staged by Claus Guth). But my notes continue to be no more than a series of questions. Questions are good, but I am not sure a list of questions actually constitues a review. Though now that I think if it, that could be a great new approach...or not.

Die Zauberflöte – Zurich 2000 (Part 1: Light and Reason and Freemasonry)

During the Overture, Tamino reads a book, (the set is some sort of library/temple combo) and falls asleep. Is this going to be staged as a dream sequence? Yup. Or…no. Actually the audience is more likely to fall asleep.  The Zurich Zauberflöte of 2000 is a static staging, but not in the way that makes you pay attention like Robert Wilson’s Orphée. It’s static in a way that makes you start making a mental grocery list. 

Although I have issues with the staging, this disc is worth checking out for fine music-making. I got it mostly because I really wanted to see Malin Hartelius as Pamina.  (Every time she entered, I thought, “She’s so pretty!” She sings really well too.)