Minnesota Opera: Ariadne auf Naxos

Opera is frequently an exercise in hyperbole. The grand sweep from one emotion to another, the tragedy of love lost, the joy of love reborn, it can all become a bit exhausting and disjointed from reality. The best operas that I've seen have done one of two things, they've used that melodrama to heighten the purest of our emotions, or they've flipped the melodrama on itself, highlighting the common understanding that while not all emotions explode with operatic passion, we can all relate to the very human tendency to exaggerate, well, everything.  Ariadne does the latter. The opera itself, the play within a play, teases the audience with the ridiculousness of its self-importance, allowing for an overzealous composer and a haughty (with a voice to say, "and I deserve to be haughty") diva to provide numerous laughs at the expense of The Opera. 

I didn't expect to giggle as much as I did, which is to say, I don't think I expected to giggle at all at an opera. But the comedy of self-aggrandizing  and forced humility never gets old, we all love to see a diva teased. Running a fast-paced 2 hours and 40 minutes (including one intermission), Ariadne manages to surprise us not only with commedia dell arte silliness and routine snark directed at opera's superiority complex, but with a warmth that makes the teasing feel less cruel, and more the type of ribbing a sibling gives another. 

Commedia: Hey Opera, get over yourself. Life isn't THAT serious. Lighten up!

Opera: Hmph. 

Commedia: Cry a little, fine. But let's crack a smile occasionally.

Opera: Hmph. (Opera cracks a very tiny smile.)

Commedia: (winky face)

The vocal talent, as always, is astonishing.  Ariadne and her comedic foil, Zerbinetta, are equals in inhabiting a character with the voice it needs.  Ariadne's deep, creamy, powerhouse of tone expertly underscores the depth of Ariadne's importance onstage and off. She's a star, her voice the perfect showcase for why opera demands applause, and more applause, and more applause, please. Where Ariadne exudes depth and gravitas, Zerbinetta lightens the mood with wit and a shimmering soprano that seems capable of brightening the darkest rafters. Deepening the connection between these two characters, Zerbinetta is the one who highlights how much her comedic persona shares with the tragic Ariadne.  Just as Ariadne is trapped and heartbroken on her deserted island, so Zerbinetta finds herself frequently isolated and confused in a throng of suitors. The physical facts matter little, the heartache in each voice can sound strikingly similar. And therein lies the sisterhood of two warring forms of art.  

Ariadne auf Naxos is sung in German with English subtitles and, due to its easily understood plot, fast pace, and comedic lift, would be an excellent first opera for anyone on the fence as to whether the art form strikes their fancy. It's a beautiful, emotional, frequently funny less-than-3-hours of entertainment, and it would be a shame to miss out on these artistic fireworks (winky face).

Ariadne is showing at the Ordway 1st, 3rd, and 4th.  Get your tickets at www.mnopera.org. And follow me on Twitter @TheMinneapolite.