Flashback on R. Strauss : Ariadne auf Naxos at le théâtre des Champs Elysées 12X 15

But Ariadne-Anja Harteros cancelled five weeks ago, all her appearances  in Paris alongside Jonas Kaufmann as Bacchus (which made the talk of the town!) but also at the BSO where she was meant to sing this role for the first time.
I missed her a lot.
 From the TCE site:

Ariadne auf Naxos

Richard Strauss

Amber Wagner and Jonas Kaufmann reunite onstage for a concert revival of the superb Munich Opera performance

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Opera in a prologue and one act (1916 version)
Libretto by Hugo von Hofmannsthal
Kirill Petrenko  direction
Amber Wagner  Ariane / Prima Donna
Jonas Kaufmann  Bacchus / The Tenor
Brenda Rae  Zerbinetta
Alice Coote  The composer
Markus Eiche  The music master
Christian Rieger  A lackey
Matthew Grills  Brighella
Kevin Conners  The dancing master
Elliot Madore  Harlequin
Johannes Klama The major-domo
Dean Power  Scaramuccio
Tareq Nazmi  Truffaldino
Petr Nekoranec  An officer
John Carpenter  A wigmaker
Eri Nakamura  A naïade
Okka von der Damerau A dryade
Anna Virovlansky  Echo
Bayerisches Staatsorchester

Anja Harteros unfortunately resigned from all performances of this production in Munich as well as from the concert version in Paris, and will be replaced by Amber Wagner who recently sang this part in Chicago to major acclaim.

From the very opening bars of the work, the breath-taking powers of invention of the composer are strikingly apparent, and this is sustained to the very end. The origins of this success can undoubtedly be found in Hoffmansthal’s libretto, which makes deft use of the artifice of a performance within a performance. Strauss and his librettist pit the spoken and sung word against each other on the pretext of organising a performance of a short opera (also called Ariadne auf Naxos) and a divertimento in the Commedia dell’arte tradition. The two companies involved vie with each other in aesthetic debates and amorous quips, which continuously spice up the preparations for the performance. However, this also provides an opportunity to take vocal virtuosity to its peak (as for example in the famous aria by Zerbinetta – eleven minutes of sheer operatic inventiveness) and the whole work is enhanced by the sumptuous orchestration of Strauss, who was at the peak of his powers of composition. A guaranteed treat for the senses.

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Of course and luckily there was a very young soprano to replace her:
(Photo from Minnesota Opera House)

Amber Wagner, from USA who has just sung the role on stage at Minnesota opera house, was thrilled to fly to Paris for the rehearsals of this concert version with the BSO orchestra and new conductor Kyrill Petrenko and only for the night in Paris, with  Jonas Kaufmann as Bacchus.
Of couse with Anja Harteros the dream team would have been reunited for a sheer evening of fine singing.
http://www.mnopera.org/biography/amber-wagner/
I cannot say it was not a thrilling evening, but it was not what I expected from Ariadne !
Amber Wagner sounds like a true mezzosoprano with a rich, luxuriouss  low range and rather ugly tops when singing such a role. The subtle high range is not her best part and she missed all the poetry of her lamentations,  that is why I missed Anja Harteros, because I was expecting floating high legato espacially in some parts like the first aria after the low range melody where Amber Wagner was very good she seemed to be very short on the tops on the high jumps on 'Light' in Ach! Wo war ich" and in the long aria at the second act she was much too loud and rather heroïc, almost Wagnerian without a joke!
I had the impression she tired out Jonas Kaufmann who had an uneasy time right at the very end, although he was amazing when he crossed the stage at his arrival hailing her with beautiful 'Circé! Circé!".  What was great also is the way they all acted this concert version, moving and looking at each other.  Of course Jonas Kaufmann was a true actor in his killing aria but apart from lots of decibels from Amber Wagner, he did not get much acting support from her.
The best engaged singing came from Alice Coote- composer during the Prologue and the delicious Zerbinetta sung and acted by Brenda Rae. She was moving because she did not sing words only, she was really touched by her role, very feminine and full of humour too. After her aria she was ovationed by the entire packed house (le Tout Paris apparently was there that night!)
I was happy but not overthrilled, I heard much better singing from Markus Eiche, the music master but of course Zerbinetta has all the seduction and brilliance in this role! I have in mind both Natalie Dessay and Edita Gruberova I listened to so much in this role on my Cds at home. Brenda Rae was sweet and lighter in her coloratura. Dramatically,  she might not be so brilliant.
The male quatuor and the female trio were excellent,   and with the orchestra direct from BSO it was a real treat.
Jonas Kaufmann was also so smart and convincing ! It was the first time I saw him acting on a French stage, apart from seeing and listening to him twice in Munich. (La Forza del Destino, Manon Lescaut, then the Nice recital but that does not count it is not opera!)
At the very end I felt sorry for him but thought  it was insignificant, just a drop in his voice, perhaps having to adjust to  this loud soprano who was not quite in osmosis as much as Anja Harteros would have been with his singing.
That is why I missed her so much...

When I arrived at my seat, a front box, I looked at the stage and caught an  unexpected vision of Jonas Kaufmann in jeans and blue tee-shirt glancing at the house... why?  As he came for a rehearsal the day before he did see the house. So why was he glancing at the house just before the concert?
I have imagined several answers and yet ....I am still wondering...
My first live Ariane à Naxos was thrillng because its music and theme is a 'great voyage', and I am glad I did it at last with such orchestra and conductor.
Bows after the prologue:

Final bows: