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.jpg "Richard Strauss: Ariadne auf Naxos - Samantha Hankey, Alina Wunderlin, Robin Ticciati, LPO - Glyndebourne Opera at BBC Proms (Photo: BBC/Chris Christodoulou)") |
| Richard Strauss: Ariadne auf Naxos – Samantha Hankey, Alina Wunderlin, Robin Ticciati, LPO Glyndebourne Opera at BBC Proms (Photograph: BBC/Chris Christodoulou) |
Richard Strauss: Ariadne auf Naxos; Rachel Willis-Sørensen, David Butt Philip, Alina Wunderlin, Samantha Hankey, director: Paul Higgins, London Philharmonic Orchestra, conductor: Robin Ticciati, Glyndebourne Opera; BBC Proms on the Royal Albert Corridor
Reviewed 19 August 2026
A stripped again manufacturing, however the singers drew us in because of excessive musical values and a focus to dramatic element, making a satisfying operatic night.
The Royal Albert Corridor shouldn’t be probably the most sympathetic of opera venues, however typically the necessity to simplify an present manufacturing can reap all types of rewards. In 2024, Glyndebourne Opera introduced Bizet’s Carmen to the BBC Proms in a manufacturing primarily based on that Diane Paulus created for the pageant. The end result, I felt was ‘Clever, vivid & satisfying’ [see my review].
Having seen a deeply disappointing reinvention of Richard Strauss’s Ariadne auf Naxos in Salzburg [see my review], I used to be intrigued to see how the opera stood as much as the rigours of the Royal Albert Corridor for this yr’s Glyndebourne Promenade. The decision is ‘very nicely certainly’.
On 19 August 2026, Glyndebourne offered Richard Strauss’s Ariadne auf Naxos on the Royal Albert Corridor for the BBC Proms. Robin Ticciati carried out the London Philharmonic Orchestra and the manufacturing by Paul Higgins was primarily based on Laurent Pelly‘s new manufacturing at Glyndebourne. Rachel Willis-Sørensen was Ariadne, David Butt Philip was Bacchus, Alina Wunderlin was Zerbinetta and Samantha Hankey was the Composer.
There was little or no set, only a pair of doorways within the Prologue to which had been added platforms for the opera correct. Laurent Pelly’s costumes had been largely up to date and these, mixed with the readability of the manufacturing meant that within the Prologue it was clear from the phrase go who was whom is the mad-cap mayhem of the backstage.
The Prologue was rightly dominated by Samantha Hankey’s anxious and intense composer, his angle emphasised by Hankey’s contorted physique language and quite fierce make-up. Sporting a quite uninspiring go well with, this composer was very a lot the obsessive, redeemed by Hankey’s superb manner with Strauss’s music. Every time she/he contemplated music beauties, issues soared. Michael Kraus was an older, quite extreme Music Grasp.
On the opposite aspect of the divide, so to talk, was Ru Charlesworth’s splendidly glittering dancing grasp. Charlesworth made the function appear greater than it’s, combining fantastic musicality with deft footwork and nice character. This was helped by the Zerbinetta of Alina Wunderlin who had hassle bringing attraction and devilishment to the Royal Albert Corridor. And he or she was aided by her mischievous foursome, Mikhail Timoshenko, Caspar Singh, Liam James Karai and Liam Bonthrone. Each Rachel Willis-Sørensen and David Butt Philip made probably the most of their comedian personas within the half.
.jpg "Richard Strauss: Ariadne auf Naxos - Liam Bonthrone, Caspar Singh, Ru Charlesworth, Rachel Willis-Sørensen, Alina Wunderlin, Robin Ticciati, LPO - Glyndebourne Opera at BBC") |
| Richard Strauss: Ariadne auf Naxos – Liam Bonthrone, Caspar Singh, Ru Charlesworth, Rachel Willis-Sørensen, Alina Wunderlin, Robin Ticciati, LPO – Glyndebourne Opera at BBC |
One benefit of the manufacturing was the not solely was it clear what was occurring, however Prologue’s thread of considering precisely what a murals is and the way it’s created was nicely demonstrated. All this emphasised by William Relton’s splendidly acerbic Majordomo.
Hankey’s composer continued to lurk in the course of the opera within the second half, however with none correct context that may have made sense of Hankey’s presence. The staging right here was fundamental, requiring Rachel Willis-Sørensen to lie on the ground. However the singers’ dedication and dramatic function carried you away and it was maybe useful to not have too many directorial pensées.
Anna Denisova, Ekaterina Chayka-Rubinstein, Eirin Rognerud made a fantastic trio as Naiad, Dryad and Echo, although right here they had been handled equally. The three introduced fine-grained tone and class to their backing group contributions.
Rachel Willis-Sørensen made a sober, critical, but compelling Ariadne. This Ariadne was nicely conscious of the madcap actions occurring round her and reacted. This made the lengthy construct as much as Bacchus’s look all of the extra vivid, significantly as she introduced a beautiful centered depth to ‘Es gibt ein Reich’. Willis-Sørensen has an ample, richly beneficiant voice with a beautiful sense of line, but in addition to letting it open up and fill the corridor, she was capable of fantastic issues right down to haunting intimacy. She made you have got an actual sympathy for this Ariadne.
.jpg "Richard Strauss: Ariadne auf Naxos - Samantha Hankey, Mikhail Timoshenko, Caspar Singh, Liam James Karai, Liam Bonthrone, Robin Ticciati, LPO - Glyndebourne Opera at BBC Proms (Photo: BBC/Chris Christodoulou)") |
| Richard Strauss: Ariadne auf Naxos – Samantha Hankey, Mikhail Timoshenko, Caspar Singh, Liam James Karai, Liam Bonthrone, Robin Ticciati, LPO – Glyndebourne Opera at BBC Proms (Photograph: BBC/Chris Christodoulou) |
As Bacchus, David Butt Philip was apparently tireless and this was in all probability top-of-the-line sung accounts of the function I’ve heard. It made you realise what we’re lacking out now that his profession is basically primarily based exterior the UK. Each he and Willis-Sørensen had been alert to the nuances of their roles, taking note of the textual content. The end result was that, although fully critical and intent, the primary a part of their scene collectively was one thing of a (tragi)-comedy of bewilderment. An strategy that introduced outstanding subtlety to the interpretation, even within the Royal Albert Corridor. By the way, it was fascinating with the ability to watch the extent to which Butt Philip used his mid-section (diaphragm/stomach) through the seen motion (he was sporting a decent vest underneath his open gown), making it clear the sheer quantity of labor went into make that top tenor sound so easy.
At first, I anxious that Alina Wunderlin is likely to be too slim of voice as Zerbinetta for the corridor. Definitely there was little doubt about her fantastic coloratura agility, however then in her huge scenes within the opera correct, notably however not completely ‘Grossmächtige Prinzessin’, she demonstrated a beautiful means to easily work the room, even a room as huge because the Royal Albert Corridor. This turned elements of Grossmächtige Prinzessin’ right into a splendidly bravura cabaret.
Mikhail Timoshenko made an lively and engagingly naughty Harlekin, while he plus Caspar Singh (Scaramuccio), Liam James Karai (Truffaldino) and Liam Bonthrone (Brighella) made a energetic foursome and on this manufacturing they did sing and dance to vivid impact.
.jpg "Richard Strauss: Ariadne auf Naxos - Rachel Willis-Sørensen, Anna Denisova, Ekaterina Chayka-Rubinstein, Eirin Rognerud, Robin Ticciati, LPO - Glyndebourne Opera at BBC Proms (Photo: BBC/Chris Christodoulou)") |
| Richard Strauss: Ariadne auf Naxos – Rachel Willis-Sørensen, Anna Denisova, Ekaterina Chayka-Rubinstein, Eirin Rognerud, Robin Ticciati, LPO – Glyndebourne Opera at BBC Proms (Photograph: BBC/Chris Christodoulou) |
The staging had little scope for transformation on the finish, however we hardly wanted it with the eye to element that Willis-Sørensen and Butt Philip gave the music, in order that by the tip we had been certainly ravished.
Robin Ticciati and the London Philharmonic Orchestra, in additional chamber formation, offered quick altering and vivid colors within the music. That is an opera the place feelings change quickly and their account of the rating mirrored that. Previously, I’ve discovered stability issues with Ticciati conducting the complete London Philharmonic on the Royal Albert Corridor stage, however not right here. Every part was sympathetically supportive.
The musical values ensured that this efficiency was memorable. However the consideration to element from all of the singers meant that there was a vivid vein of drama working by means of the night too, making it all of the extra dramatically compelling.
Rachel Willis-Sørensen: Ariadne
David Butt Philip: Bacchus
Alina Wunderlin: Zerbinetta
Mikhail Timoshenko: Harlequin
Caspar Singh: Scaramuccio
Liam James Karai: Truffaldino
Liam Bonthrone: Brighella
Samantha Hankey: Composer
Michael Kraus: Music Grasp
Ru Charlesworth: Dancing Grasp
Anna Denisova: Naiad
Ekaterina Chayka-Rubinstein: Dryad
Eirin Rognerud: Echo
William Relton: Majordomo
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