The curtain rises on Glyndebourne's summer season with a brand new production of Richard Strauss's 'Ariadne auf Naxos', directed by Laurent Pelly, and it's an opera that promises to be a thrilling ride. But does it deliver? While it excels in its initial comedic stages, critics suggest that beneath the surface-level wit lies a lack of emotional depth – a disappointing oversight from a production that also explores the complexities of love and artistic compromise.
The first act is where Pelly's staging really comes alive, with a backstage chaos that's as ridiculous as it is believable. Massimo Troncanetti's set design is a visual masterstroke, juxtaposing a gilded doorway with a modern chandelier to create a sense of questionable taste – and the performances are just as impressive. William Relton brings a menacing presence to his portrayal of the Major-Domo, while Michael Kraus shines as the Music Master in his witty exchange with Ru Charlesworth's chainsmoking Dancing Master. Samantha Hankey delivers a mellow yet gleaming mezzo-soprano performance as the irascible Composer, and Alina Wunderlin's Zerbinetta adds to the frothy atmosphere with her stockings and suspenders.
But it's in the second half that the production falters. After a thrilling interval, the narrative shifts to the combined performance, where the initial comedic brilliance gives way to a less insightful exploration of the opera's core themes. The set design for the second act is visually challenging, making it difficult to discern the emotional impact of the characters' interactions – and one can't help but feel that we're missing out on something deeper.
Individual performances are strong throughout, but the emotional depth remains elusive. Alina Wunderlin shines in her monologue, effortlessly delivering high notes and engaging with the audience, but her potential subplot with Mikhail Timoshenko's Harlequin is frustratingly underdeveloped. Rachel Willis-Sørensen possesses a soaring voice as the Prima Donna singing Ariadne, but she barely hints at the vulnerability of the character – both in her extensive aria and in her duet with David Butt Philip's powerfully sung Bacchus.
Ultimately, Pelly's 'Ariadne auf Naxos' at Glyndebourne delivers on its promise of wit and entertainment, but for an opera that also delves into the profound aspects of love and artistic compromise, it's a disappointing oversight – one that leaves you questioning whether any of the characters have undergone significant transformation.