ARIADNE AUF NAXOS by LISA GASTEEN’S NATIONAL OPERA SCHOOL
by Wis Jablonski, President
Thanks to the Greek myths and the old gods, heroes and heroines are still with us even after thousands of years.
In its eighth year of existence Lisa Gasteen National Opera School’s has produced a delightful but demanding opera by Richard Strauss. The opera (in German) is based on a story of the Athenian hero Theseus and Ariadne, the daughter of King Minos of Crete.
Why is Adriane so famous? By being a daughter of the king or a granddaughter of the god Helios? Or by being an abandoned lover even after she helped Theseus to conquer the Minotaur and betray her father during her action? Or maybe because she was rescued by another god, Bacchus and fell in love again? Who knows?
Ariadne inspired many literary works from Ovid’s Heroides through Heinrich Wilhelm von Gerstenberg, Anton Chekhov, Friedrich Nietzsche to Mary Renault's historical novel The King Must Die.
Across the centuries she also featured in frescos found in Pompei (79 AD) and paintings of masters like Titian (1520), Annibale Carracci (1597), Guido Reni (1619), Jean-Francois de Troy (1725), Angelica Kauffman (1774), Eugene Delacroix (1856 – 63), Maurice Denis (1907), Lovis Corinth (1913) and others.
The same goes for the opera. There are seven of those by the composers; Claudio Monteverdi (1608), Robert Cambert & Louis Grabu (1674), Nicola Porpora (1733), George Handel (1734), Jiri (Georg) Benda (1775), Richard Strauss (1912/1916) and Bohuslav Martinu (1958).
The best known and the most frequently performed is Richard Strauss opera “non seria” Ariadne auf Naxos, which was based on the play by Moliere (Jean-Baptiste Poquelin 1622 – 1673) Le bourgeois gentilhomme
The one I have attended was performed by Lisa Gasteen School with participation of her talented singers and the renowned English/ Australian conductor Maestra Simone Young AM.
I was privileged to see that charming version consisting of three parts: Prologue, Commedia dell’ Arte and Opera Seria. They all come together as requested by the nouveau riche Count Jourdain who has a little idea how to use his newly acquired wealth. He wants to please his invited guests and also save some money. What follows is a classical commedia dell’ Arte with Zerbinetta, Harlequin, Truffaldino, Scaramuccio and Brighella full of imbroglio, scenario and lazzi. Only in the midst of it is a serious opera with a superb music and voices. At the end of the performance flowers are presented not to the deserving performers but to the Count and his lovely, jealous wife. Money talks!!
I would like to comment on a few singers while appreciating that the whole cast has been magnificent, and their use of the German language good.
Zerbinetta, Rachel Pines has been the engine of the show by being everywhere and sparking with the energy. This superb Canadian soprano has performed in the USA, Italy, New Zealand and in Australia.
Philip Meyers, whom I’ve met on a few occasions, played a role of major-domo with his flawless German. After graduating from the Conservatorium, he has performed all over the world, and is currently based in Berlin.
Ariadne, Elizabeth Lewis is a dramatic soprano of a huge calibre and the winner of many competitions here and overseas. As Adriane she was awesome, especially in the love duet with Bacchus, Paul O’Neill from Western Australia
My favourite young bass, Henry Pinder has been there as well singing the minor role of a Lackey/Truffaldino.
After the performance the guests, well-wishers, cognoscenti, and families of the artists gather in the foyer, sharing those special moments when all has been done and done well. Meeting and communicating with the young artists, so full of vigour and hopes, makes one assured of their bright future.
My congratulation to Liza Gasteen for her effort to keep the opera’ flame burning bright and to Queensland Conservatorium for their support.
by Wis Jablonski, President
Thanks to the Greek myths and the old gods, heroes and heroines are still with us even after thousands of years.
In its eighth year of existence Lisa Gasteen National Opera School’s has produced a delightful but demanding opera by Richard Strauss. The opera (in German) is based on a story of the Athenian hero Theseus and Ariadne, the daughter of King Minos of Crete.
Why is Adriane so famous? By being a daughter of the king or a granddaughter of the god Helios? Or by being an abandoned lover even after she helped Theseus to conquer the Minotaur and betray her father during her action? Or maybe because she was rescued by another god, Bacchus and fell in love again? Who knows?
Ariadne inspired many literary works from Ovid’s Heroides through Heinrich Wilhelm von Gerstenberg, Anton Chekhov, Friedrich Nietzsche to Mary Renault's historical novel The King Must Die.
Across the centuries she also featured in frescos found in Pompei (79 AD) and paintings of masters like Titian (1520), Annibale Carracci (1597), Guido Reni (1619), Jean-Francois de Troy (1725), Angelica Kauffman (1774), Eugene Delacroix (1856 – 63), Maurice Denis (1907), Lovis Corinth (1913) and others.
The same goes for the opera. There are seven of those by the composers; Claudio Monteverdi (1608), Robert Cambert & Louis Grabu (1674), Nicola Porpora (1733), George Handel (1734), Jiri (Georg) Benda (1775), Richard Strauss (1912/1916) and Bohuslav Martinu (1958).
The best known and the most frequently performed is Richard Strauss opera “non seria” Ariadne auf Naxos, which was based on the play by Moliere (Jean-Baptiste Poquelin 1622 – 1673) Le bourgeois gentilhomme
The one I have attended was performed by Lisa Gasteen School with participation of her talented singers and the renowned English/ Australian conductor Maestra Simone Young AM.
I was privileged to see that charming version consisting of three parts: Prologue, Commedia dell’ Arte and Opera Seria. They all come together as requested by the nouveau riche Count Jourdain who has a little idea how to use his newly acquired wealth. He wants to please his invited guests and also save some money. What follows is a classical commedia dell’ Arte with Zerbinetta, Harlequin, Truffaldino, Scaramuccio and Brighella full of imbroglio, scenario and lazzi. Only in the midst of it is a serious opera with a superb music and voices. At the end of the performance flowers are presented not to the deserving performers but to the Count and his lovely, jealous wife. Money talks!!
I would like to comment on a few singers while appreciating that the whole cast has been magnificent, and their use of the German language good.
Zerbinetta, Rachel Pines has been the engine of the show by being everywhere and sparking with the energy. This superb Canadian soprano has performed in the USA, Italy, New Zealand and in Australia.
Philip Meyers, whom I’ve met on a few occasions, played a role of major-domo with his flawless German. After graduating from the Conservatorium, he has performed all over the world, and is currently based in Berlin.
Ariadne, Elizabeth Lewis is a dramatic soprano of a huge calibre and the winner of many competitions here and overseas. As Adriane she was awesome, especially in the love duet with Bacchus, Paul O’Neill from Western Australia
My favourite young bass, Henry Pinder has been there as well singing the minor role of a Lackey/Truffaldino.
After the performance the guests, well-wishers, cognoscenti, and families of the artists gather in the foyer, sharing those special moments when all has been done and done well. Meeting and communicating with the young artists, so full of vigour and hopes, makes one assured of their bright future.
My congratulation to Liza Gasteen for her effort to keep the opera’ flame burning bright and to Queensland Conservatorium for their support.
