Description:

When I first saw the cast for this performance, I assumed it would be an oddity—one for the curiosity shelf. But as I listened, I was astonished by how much it revealed about the brilliance of this opera in ways I had never fully appreciated.

Perhaps the most remarkable aspect of this recording is the venue itself. The old barn at Glyndebourne was one of the most intimate theaters in the world, and that intimacy is palpable here. Strauss composed this work for an orchestra of about 35 players, allowing each instrument—including every string player—a moment in the spotlight. The effect is closer to chamber music than grand opera, and the setting allows the singers to approach their roles with a Mozartian fluidity, none more so than Richard Lewis as Bacchus. A stroke of casting genius, he was still performing roles like Tamino at the time, bringing a youthful freshness to Bacchus that is almost always absent. Given that the libretto repeatedly refers to him as der junge Gott (the young god), this feels like an interpretation close to what Strauss and Hofmannsthal envisioned.

Lucine Amara is equally compelling, with the role sitting squarely in the part of her voice where she excelled. Her impeccable sense of line and ability to spin luxurious pianissimi make a strong case for renewed appreciation of her artistry. Rita Streich is utterly charming as Zerbinetta, her coloratura precise and dazzling, though one senses a touch of fatigue near the end of her aria. A young Pilar Lorengar also makes an appearance in the small role of Echo.

At the helm is Sir John Pritchard, whose leadership is nothing short of masterful. In 1958, this opera was still something of a rarity, yet his interpretation is so layered with nuance that one would think he had lived with it for decades.

Curiously, the prologue is missing from this recording, and the Glyndebourne archives offer no clues as to whether it was performed in the original run. One indication that it may have been omitted is the inclusion—albeit in heavily cut form—of Zerbinetta’s second aria from the 1912 version, Prinzessin! Welchen Botenlohn suggesting that this was meant to present something closer to the the original version. Otherwise, the performance follows the revised edition.

The recording was transferred from LP, so a slight surface noise remains, but the sound is otherwise clear. A fascinating document of an intimate and revelatory Ariadne auf Naxos.

NEW MASTER
-The previous version was almost a half-step flat. We have corrected that.

In Mono

OD 10517-1