By Teresa Annas
The Virginian-Pilot
©February 7, 2014
As operas go, “Ariadne auf Naxos” is artistically sophisticated, yet totally “Three Stooges.”
Add to that Richard Strauss’ music from a century ago.
“Strauss always writes this kind of music that feels like a wash of sound,” said Audrey Luna, a coloratura soprano who just won a Grammy and who has the comic lead in the Virginia Opera production opening tonight at Harrison Opera House.
“The music feels like a velvet blanket being put over you. It’s just so luscious and luxurious.”
In the opera’s plot, two groups of performers are scheduled to amuse some wealthy Americans, but as the socialites’ soiree continues, time for the shows diminishes.
As a result, a slapstick comedy troupe and an ultra-serious opera company are asked to blend their shows into one.
The company’s operatic diva portrays Ariadne, a Cretan princess from Greek mythology who was dropped on the island of Naxos. She’s melodramatic to the max as she awaits the arrival of Death. As part of the last-minute shift, the comedians wash ashore and try to cheer up Ariadne, but she ignores them. She’s determined to be tragic.
“It’s got a really wacky plot,” said Sam Helfrich, stage director. “It’s two completely different performing styles happening at the same time.”
Helfrich, who directed the company’s “A Streetcar Named Desire” last season, wants to make operas relevant and entertaining for modern audiences. So he has set the Ariadne story in the present in America.
He also went for what he called “extreme physical comedy.”
“There’s a scene that’s much more like The Three Stooges or Laurel and Hardy, where people are running in and out of doors and hiding, all while singing really difficult music.”
The ironies run rampant. For one thing, the comedians are supposed to be thespians. “But because it’s an opera, they’re singing,” Helfrich said.
“These other people are doing the real opera, and they treat the others like they’re doing something low, as in low art. But, in fact, they’re all singing opera.”
When Zerbinetta, leader of the comedy troupe, sings her act-two aria, “it’s incredibly difficult opera singing. There’s nothing low about it.”
Luna has portrayed Zerbinetta four times, but this fifth outing has her dancing more than she ever has in that role, which is partly why her second-act aria is so daunting.
Mostly, she said, “it’s hard because it’s so long.”
It’s 12 minutes of coloratura (elaborate vocal ornamentation) soprano singing. Not only that, but she sings and dances with the four men in her troupe for seven minutes both before and after her aria.
During the aria she is telling the diva the hard facts about men. “Don’t give your heart away. Take over the relationship. Don’t be so weak,” she said.
“I’m just giving her girl advice.”
Teresa Annas, 757-446-2485,teresa.annas@pilotonline.com