Ariadne auf Naxos review

A third lead is the young Composer of the opera seria, designated a soprano role by Strauss, but here (as usual) allotted to a mezzo, Hanna Hipp, whose emotional investment in the character’s vulnerable idealism is touchingly captured in lithe, soaring tone. The fourth principal is Zerbinetta, soubrette queen of the comedy troupe, whose showpiece aria is stuffed with high notes, trills and other coloratura challenges. Soprano Jennifer France dispatches it with scarcely credible virtuosity, not to mention bags of charm. 

A complex piece, Ariadne is full of secondary roles, expertly delivered here by a large company. Leaving strong impressions are Dean Robinson’s Music Master, movingly concerned for the success of his pupil’s work; John Savournin’s impossibly haughty Major Domo; and Daniel Norman’s happy-go-lucky Dancing Master. Capering entertainingly are the commedia dell’arte troupe: Dominic Sedgwick, Alex Banfield, Adrian Dwyer and, once again, the multitasking stage-savvy Savournin. Vocally pleasing are the lyrical trio of Naiad (Daisy Brown), Dryad (Laura Kelly-McInroy) and Echo (Amy Freston) – though their constant motion becomes irritating.

Silent cameos feature either the crew working on the movie – a director and his assistant, an electrician, a make-up artist and so on – or merely onlookers such as sponsors, all of them enlivening Gaitanou’s busy remake of the original. 

Conductor Antony Hermus maintains flawless balance both within the pit and between pit and stage. With Opera North’s orchestra sounding as if they have fallen completely in love with Strauss’ score, the gorgeous music simply gleams.