Academy Ably Captures ‘Ariadne’s’ Humor, Heart

Forty-five years ago this month, Music Academy of the West mounted its first opera production: Richard Strauss’ “Ariadne auf Naxos.” It was produced by Lotte Lehmann, the legendary German soprano then living in retirement here, conducted by the distinguished Maurice Abravanel, staged by Jan Popper of UCLA.

Some of us who attended that memorable opening on Aug. 23, 1955, recall the radiant Ariadne of Jane McGowan, Marni Nixon’s fearless, effortless Zerbinetta, the operatic debut of 21-year-old Benita Valente (as Echo), even the fact that the 15-year-old Laurence Lesser played cello in Strauss’ chamber orchestration.

Friday, “Ariadne” returned to the historic Lobero Theatre here, locale of that first in what is now a long line of summer productions.

Conducted with authority, sweep and colorful detailing by Randall Behr, the performance realized the dramatic insights in this masterwork: its many operatic backstage in-jokes, its broader comedic points, the thrilling melodiousness of its score and its irresistible human heart.

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With Behr’s musical leadership holding it up, Chas Rader-Shieber’s followable but probingly specific stage direction made Hofmannstahl’s libretto--the supertitles delivering Roger Pines’ clever translation--perfectly clear. The laughs, as well as the near-tears, came in the right places.

“Ariadne” is a connoisseur’s joy, but does not always reach the observer as uncluttered as it did this time.

In the high-achieving cast of young singers, the most accomplished turned out to be Lisa Fedkenheuer, a most affecting, dramatically compelling Composer. The most promising was Shieh-Yih Lim, who sang Bacchus with a ringing, healthy sound and firm text credibility.

Karen Wierzba dominated her scenes as a faceted Zerbinetta; as reliable, solid and attractive as her high notes, she occupied the entire role with ease and charm. Heidi Bieber’s Ariadne, one feels, will someday excel in this role. This time out, tentativeness marred the earlier scenes; in the final minutes, completely warmed up, she rose to the occasion handsomely.

The comedians showed great skill, both as singers and actors, and carried out their complex duties ably. They were Alan Corbishley (Harlequin), H. Taylor Hargrave (Scaramouche), Bert Johnson (Truffaldino) and Andrew Truett (Brighella). Strong support came from Lee Poulis (Music Master) and Leonardo Capalbo (Dancing Master).

Operatic veteran Heinz Blankenburg, who served as German diction coach for the production, dominated the opening scene as a perfectly officious and transparently comprehensible Major-Domo.

David Zinn designed the simple, effective set and colorful costumes; Lenore Doxsee was responsible for the atmospheric lighting. The entire production was overseen by Marilyn Horne, voice program director of Music Academy of the West in 2000.