We live in the age of the hybrid. Ads abound that boast of products that are the ideal blend of A and B, possessing all the advantages of both without the shortcomings of either.
It seems that that’s what composer Richard Strauss and librettist Hugo von Hofmannsthal had in mind when they created their 1916 opera, “Ariadne auf Naxos,” which takes a stab at fusing classic tragedy with saucy, sexy comedy. Its creators seemingly sought a work propelled by friction — between classes, styles, art forms and personalities — with the ensuing sparks making for ideal entertainment.
For the third time this decade, Minnesota Opera has saved part of its season for Strauss. Having previously presented memorable productions of “Salome” and “Arabella,” the company opened its season at St. Paul’s Ordway Music Theater Saturday with a handsome and musically impressive “Ariadne auf Naxos.” Although all of the elements were in place for another Strauss success — including an excellent cast and delightful design — this staging never convinced me that it’s a particularly good opera.
Instead, I felt as if Strauss and von Hofmannsthal had tossed a comedy and drama together and created something heavy on clash and light on conflict.
It appeared headed toward outrageous comedy during a fun first act in which an opera troupe and a crew of comedians are forced to combine the works they’re presenting at a society party. But the ample potential for humor was seldom mined, nor the travails of the tragic characters involving enough to make the eventual triumph of love particularly moving.
Like the opera within the opera that makes up the second act, this production felt like it was blindly feeling its way toward some sort of resolution but was uncertain of its primary point.
But plenty of rewards can be gained from simply enjoying the music, which is exceptionally well sung by all of the lead performers.
As the composer fit to be tied by his beloved new opera being turned into a farce, Hanna Hipp captures the ethereal aspirations of the dedicated artist and makes a captivating case for them in a show-stopping aria at first act’s end. And Erin Morley possesses both a lovely voice and plenty of coquettish charm as the comedy troupe’s female lead.
Yet the most impressive instrument in the cast belongs to soprano Amber Wagner, whose smooth, powerful and arrestingly expressive voice makes all of the title character’s arias things of rare beauty. And her comic chops prove quite strong, as this emissary of highbrow art is forced to work with some pretty lowbrow elements.
While Brian Jagde also does fine things with Strauss’ music as Bacchus, the hero who rescues her from her island exile, it’s a romance without fire.
Strauss was an expert orchestrator and much of his best music comes up from the pit, conductor Michael Christie and the Minnesota Opera Orchestra doing wonderful things with the score. And Robert A. Dahlstrom’s set serves the action well, transforming from a fetchingly slanted backstage area to a gallery full of works clearly inspired by specific contemporary artists.
But I came away feeling as if director Alan E. Hicks and his creative team were committed to having the opera look and sound as good as possible, yet couldn’t quite figure out how to really make this hybrid hum.
Rob Hubbard can be reached at robhubbard@pioneerpress.com.
What: Minnesota Opera’s “Ariadne auf Naxos”
When: 7:30 p.m. Thursday and Saturday, 2 p.m. Sunday
Where: Ordway Music Theater, 345 Washington St., St. Paul
Tickets: $200-$25, available at 612-333-6669 or mnopera.org
Capsule: Beautifully sung, played and designed, but an ultimately unsatisfying opera.
