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John Kapusta as Dance Captain and Rachele Gilmore as Zerbinetta in The Glimmerglass Festival's 2014 production of Strauss' "Ariadne in Naxos."
(Karli Cadel | The Glimmerglass Festival)
A trio of farmhands carrying a goat, a chicken, and a bale of hay enter the theatre and approach a looming barn center stage with New York state painted on it and stars depicting towns and cities. This is followed quickly by a troupe of brightly dressed (a la Baz Luhrmann) burlesque performers and a seemingly lost opera diva.
This is how director Francesca Zambello introduces us to Richard Strauss' "Ariadne in Naxos" at the Glimmerglass Festival in Cooperstown. Performed in English and German, this mash-up of "high" and "low" art acts as an interesting commentary on what continues to be a relevant dichotomy in today's culture. There is no time period specified, but it is clear that the director has essentially set this where we are sitting, in a rural Upstate NY community. This idea is, however, not carried throughout the themes or essence of the rest of the production despite the barn (which is largely forgotten) and the braying of animals at intermission.
Act one is constructed as a prologue in which the Composer (Catherine Martin) and Zerbinetta, the star of the burlesque troupe (Rachele Gilmore) are told that they must share the bill for the evening performance. This is then further complicated when the two acts find out that they must combine the two into one performance without leaving out any elements of either offering. Martin is strong and impassioned as a composer that is being forced to compromise her art for the wealthy, but uncultured, patron.
The Prima Donna (Christine Goerke) and Tenor (Corey Bix) each demand that the others role be cut; but the Dance Captain (John Kapusta) assures the Agent (Adam Cioffari) that Zerbinetta is a fine improviser and will add greatly to the opera with her dance troupe following and that all shall be retained. Zerbinetta turns her attentions on the composer and convinces her to allow her work to be transformed into something new. Initially the Composer agrees but then recants and plunges into deep despair before storming out as the act ends.
Act two begins with the Composer on stage watching the orchestra play the overture to her opera. She remains on stage for the entire act, often lost in her own creation and always engaged. The stage is set and we see that the patron has won and both acts will perform. The opera begins and is performed in German. The Prima Donna, playing the role of Ariadne, is asleep on a bale of hay with her nymphs singing to her. Ariadne awakens to lament in a dark, rich tone but with exquisite diction, her plight and a desire that death take her for she is alone. The burlesque troupe takes the stage to cheer her led by Zerbinetta with a tour-de-force coloratura aria that seemingly comes out of nowhere.
Gilmore's flexibility was admirable but her tone was a bit thin in the upper register. Her stage presence commanded the attention of audience and actor alike. Ariadne, who was noticeably absent during the aria, returned to the stage with her nymphs at first to lament and then to rejoice in the arrival of a man she believes to be Death but learns soon is Bacchus. The two sing a stirring duet with Goerke masterfully executing her part and retaining her "Prima Donna" status. The composer and Zerbinetta look on before sharing a tender moment of their own as the show draws to a close.
Details
What: Glimmerglass Festival - Aridane in Naxos
Where: Glimmerglass Festival 7300 State Highway 80 Cooperstown.
When: Monday, July 28, at 8 p.m.; Saturday, Aug. 2 at 1:30 p.m.; Friday, Aug. 8 at 7:30 p.m.; Sunday, Aug. 17 at 1:30 p.m.; Thursday, Aug. 21 at 7:30 p.m. ; and Saturday, Aug. 23 at 1:30 p.m.
Tickets: $26 to $144. Tickets available at www.glimmerglass.org or by calling (607) 547-2255.