[Met Performance] CID:197050
Ariadne auf Naxos {13} Metropolitan Opera House: 01/27/1964.
(Review)
Metropolitan Opera House
January 27, 1964
ARIADNE AUF NAXOS {13}
Ariadne.................Ingrid Bjoner
Bacchus.................Jess Thomas
Zerbinetta..............Gianna D'Angelo
The Composer............Teresa Stratas
Music Master............Walter Cassel
Harlekin................Theodor Uppman
Scaramuccio.............Andrea Velis
Truffaldin..............Donald Gramm
Brighella...............Gabor Carelli
Najade..................Mary Ellen Pracht
Dryade..................Gladys Kriese
Echo....................Joy Clements
Major-domo..............Morley Meredith
Officer.................Robert Nagy
Dancing Master..........Paul Franke
Wigmaker................Russell Christopher
Lackey..................Gerhard Pechner
Conductor...............Silvio Varviso
Review of Martin Bernheimer in the Saturday Review
"Ariadne auf Naxos"
THE Met recently ventured two "Ariadnes" within nine days, using a different set of principals for each. This not only tested the company's casting resources, but also served to confirm at least one suspicion about the work: if the prologue is to make sense, it must be dominated by a Composer who can negotiate the high-lying finale with ease and power.
Teresa Stratas filled the bill nicely on January 27, but things had been different on the 18th when Mildred Miller took over. Despite her intelligence and attractive stage presence, Miss Miller was hampered by the fact that she is a mezzo, not a soprano. She had all too much trouble sustaining the tessitura and cutting through the Straussian fabric, over which Martin Rich wielded only variable control. The conductor's seeming disregard for the limitations of the human throat also provided some uncomfortable moments for the substitute Zerbinetta, Jeanette Scovotti. Heard last season in the modest measures of Echo, Miss Scovotti was singing her first Zerbinetta anywhere. Her pert characterization and musical security indicated that she only needs more sympathetic support from the man in the pit to become a first-rate interpreter of this treacherous soubrette role.
Another cast change, this one necessitated by Leonie Rysanek's absence, brought Ingrid Bjoner to her first local Ariadne on the 27th. (Lucine Amara had sung the part splendidly before.) The long lines and sometimes awkward fluctuations between lyricism and drama posed no problems for her; she sang with style, feeling, and greater freedom than in any previous assignment here. Others who returned to the cast (this time under Silvio Varviso's direction ) were Gianna d'Angelo, a charming Zerbinetta despite technical shortcomings, and Jess Thomas
who followed Sándor Kónya as Bacchus. Unlike most tenors, Thomas refused to be intimidated by Strauss's demands on his upper range. The results were not always beautiful, and Thomas may have to pay for his vocal generosity later. But on this occasion he gave an honest, even exciting performance nevertheless.