Arizona Republic article about Kiri Te Kanawa.

Arizona Republic review of Andrea Chénier.

Arizona Republic preview of Andrea Chénier.

The Arizona Daily Star review of Andrea Chénier.

Arizona Republic interview with Aida Director Bernard Uzan.

Arizona Republic review of Aida.

Get Out! article on Aida.

The Arizona Daily Star review of Die Fledermaus.

Tucson Citizen review of Die Fledermaus.

Tucson Citizen review of the Samuel Ramey Great Singers Series Recital.

The Arizona Daily Star review of the Samuel Ramey Great Singers Series Recital.

Arizona Republic review of the Samuel Ramey Great Singers Series Recital.

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The Rep review of Lucia di Lammermoor.

Arizona Republic review of The '98 Opera Ball.

Arizona Republic review of Tosca.

Arizona Republic review of Otello.

The Arizona Daily Star review of Roméo et Juliette.

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Tucson Citizen review of La Traviata.

Phoenix New Times article about Ariadne auf Naxos, featuring an interview with Caroline Whisnant.

Arizona Republic review of Ariadne auf Naxos.

Arizona Republic preview of Ariadne auf Naxos.

Tucson Citizen review of Ariadne auf Naxos.

Tucson Citizen review of The Magic Flute.

Arizona Daily Star review of Lakmé.

Tucson Citizen review of Lakmé.

Arizona Republic review of Lakmé.

By Kenneth LaFave
Staff Writer
Arizona Republic
23 January, 1997

Arizona Opera's second foray into the operas of Richard Strauss is a beautiful to see, often compelling to hear production of Ariadne auf Naxos. And if the two unequal halves of this oddly shaped work seem to add up to a not quite satisfying whole, at least you can sit back for the last 25 minutes and wallow in some of the most richly melodious music ever imagined.

Unlike taut Salome (last year's entry into the Strauss repertoire), Ariadne auf Naxos is among the most strangely constructed operas ever written. It starts with a 35-minute prologue in which we view the last-minute, behind the scenes preparations for an evening's entertainment by a pair of 18th-century performing groups: a serious opera company and a quartet of clowns, including the flirtatious comedian Zerbi-netta. The two troupes, it has been declared by the unseen patron of the evening, will give their performances simultaneously.

The Composer, the prologue’s chief figure, is outraged. He has carefully composed a tragic work on the classic Greek theme of Ariadne, the woman abandoned by Theseus to sorrow on the isle of Naxos, and it will surely be ruined by the intrusion of bumbling clowns and the fickle Zerbinetta. Yet after Zerbinetta works her charms on the Composer, he rather quickly decides to forge ahead with an instant rewrite that will accommodate Harlequinesque improvisation.

Then, after an intermission, comes the opera itself, a long one-act in which Ariadne's doom and Zerbinetta's lustiness somehow co-exist.

It’s less complicated than it sounds. Yet, because certain prologue characters never show up in the opera itself (the Composer, his Music Master, the Major-Domo), there is a sense that what you are viewing is an incomplete framing device. You want the Composer to come back at the end, yank Zerbinetta off the stage and fly off with her - perhaps sailing away in the same ship that takes Ariadne off Naxos and into eternal bliss with Bacchus. Instead, the opera just ends.

In the present production, stage director Nando Schellen has provided a lightly bustling prologue, followed by a serene and billowing opera proper, allowing just the right amount of zaniness to infiltrate the latter. The trick is the cross-fertilization of tragedy and comedy. Zerbinetta instills Ariadne with the levity and realism of her approach to love, while the sorrowful mood of Naxos imbues the clowns with unclownlike reflection.

The score provides opportunity for extraordinary vocal display in almost every role. As seen and heard last Thursday night in Tucson, two parts indicated for soprano by Strauss were sung by mezzo-sopranos with musical richness and dramatic effectiveness. Tucson native and major operatic talent Janice Felty sang the Composer, bringing to the trouser role a natural boyishness and a strength and purity of tone.

Carmella Jones, the prima donna of the prologue and the Ariadne of the opera proper, produced a rich, velvety sound and sang with powerful expressivity in the Wagneresque duet that closes the opera. Her partner, tenor Arnold Rawls as Bacchus, was not a match for her volume or her expression, though he performed with intelligence and musicality. Rawls will repeat his appearance in all four Phoenix performances; Jones will be heard tonight and Saturday, with soprano Caroline Whisnant singing Ariadne on Friday night and Sunday afternoon.

Coloratura soprano Blythe Walker's Zerbinetta had comedic sparkle, and her famous aria boasted an easy agility; more brilliance and power of sound might have put her over the top. (Walker sings the part tonight and Saturday, with Susan Wallin taking it on Friday and Sunday.) The three Rhinemaiden-like attendants to Ariadne - Naid, Dryad and Echo - were superbly essayed by Betty Allen, Korby Myrick and Susanna Uher. Baritone David Darling stood out for his portrayal of Harlequin, sung with poignancy and acted with insight.

Solid, engaging performances were also turned in by bass-baritone Benjamin Sorenson as the Music Master; Mark Saltzman as the Dancing Master; Adar Garcia, Michael Gallup and Daniel Kurek as the rest of the Harlequin troupe; and, in the speaking role of the Major-Domo, director Schellen.

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