For its debut on CD, Ariadne auf Naxos receives a bright, clear DG recording, notably well balanced and in a warm, not over-resonant but not dry acoustic which lets the playing of the Vienna Philharmonic emerge with exceptional clarity. Strauss's scoring for chamber orchestra is one of is outstanding achievements, for not only is it full of subtleties and delicate charm, it is also rich and full so that at some points one can scarcely believe that a full orchestra is not involved. The use of the harmonium is a special feature, and we are allowed to her to what excellent purpose Strauss applies it.
What I particularly like is the way a studio recording has captured the atmosphere of bustle and panic on stage in the Prologue. Much of this can be credited to James Levine's acute sense of tempo throughout. He does not take the opera quite so briskly as Karl Bohm (also DG—2709 033, 4/71—nla), who presumably had Strauss's imprimatur, but he is not so measured as Karajan (EMI, on mono LP only)—Bacchus's entry, for example, with his cries of ''Circe'', is almost stately under Karajan and is impetuous under Bohm, but Levine strikes a convincing and happy medium. Returning to the Prologue, thank goodness the Major-domo's interruptions were recorded 'on the spot' and not dubbed in, as on the Karajan set. Otto Schenk, in what must be the best non-singing part in all opera, is wonderfully condescending in the role.
Agnes Baltsa, in the travesti role of the Composer, is splendid in her rage and frustration at the indignities being heaped upon 'his' opera—from figs. 32-7, for instance—less good in the near-to-love scene with Zerbinetta. The part lies high for her; for although Strauss in his letters refers to a mezzo Composer, the fact remains that he specified soprano in the score. Baltsa is uncomfortable with her top A at her first ''Du allmachtiger Gott'', whereas Irmgard Seefried (for Karajan) is unruffled. I should myself have preferred Trudeliese Schmidt in this role, but one can't have everything and Baltsa lets no one down, least of all herself.
Compared with Otakar Kraus on the Karajan set, the small part of the Lackey is under-characterized by Alfred Sramek for Levine, but otherwise there are some vivid vignettes. Hermann Prey's Music Master is strong and authoritative, undaunted by the Major-domo, and Heinz Zednik's Dancing Master is another brilliant cameo.
With Kathleen Battle as Zerbinetta, no one need have any fears that the famous aria does not make its intended effect. I have the feeling she is just not at the very peak of her form, but this is to be ultra-critical—it is still a sparkling performance, full of humour and humanity. Perhaps Edita Gruberova is better (Decca D103D3, 6/79—nla)? It's a difficult choice, but Battle can hold her own with Karajan's Rita Streich, which is saying something.
As Ariadne, Levine has chosen one of the reigning Straussian prima donnas of our day, Anna Tomowa-Sintow. Some may find her tone not quite so sumptuous as that of some of her predecessors—one thinks especially of Gundula Janowitz for Kempe (EMISLS936, 11/69—nla)—but she stints nothing here in a most generous and often thrilling performance, presenting a more touchingly vulnerable Ariadne than Schwarzkopf's (Karajan). If a momentarily insecure technique detracts from her ''Sie lebt hier ganz allein'', both her big arias are lustrously sung—and she shows her penchant for comedy in her guise as the Prima Donna in the Prologue. She is lucky, too, to have the support of three exceptionally good nymphs in Barbara Bonney, Helga Muller Molinari and Dawn Upshaw.
Which leaves this opera's usual big problem, the tenor Bacchus. Karajan had the late Rudolf Schock, who was better than most in this taxing Helden role, though none has yet matched Helge Roswaenge (in Krauss's 1953 broadcast, issued on Acanta—not generally available in the UK but worth searching out). Levine's Bacchus is the American tenor Gary Lakes and, despite an occasional tightness of tone, he never sounds, as so many Bacchuses do, as if he is going to 'crack' at any moment. There is no magical high pianissimo on ''Zauberin'' (generally he is inclined to be cavalier about dynamics) but it is agreeable singing none the less, and Levine ensures that the often-maligned final duet crowns the work as it should.
The Vienna playing is elegant, sensitive and lively. For an example, I advise you to listen to the horn solo, echoed by bassoon and two cellos, which introduces ''Ein Schones war''. Levine has the knack of obtaining playing like this from orchestras: he seems to me to be so profoundly musical a conductor, and this performance is worthy in many respects to be mentioned alongside the gorgeous Kempe recording. Even that set was marred by a rough-and-ready Bacchus, whereas Levine's casting avoids any major let-down.'