Karina Gauvin - Conradi: Ariadne (2005)

This CPO issue of Johann Georg Conradi's 1691 opera Ariadne is based out of a revival of this obscure work produced in 2003 as part of the Boston Early Music Festival. One might be surprised to see the name of Conradi above the title of such a large opera set -- has anybody really heard of this guy? What is up with this opera?

German Baroque opera has spent centuries in the shadows. At one time this entire historical genre was considered of only marginal value when held up to the shining example of George Frideric Handel. Closer examination of the topic reveals that this was one man's opinion, namely that of nineteenth century musicologist Friedrich Chrysander. Nevertheless, such opinions can travel a long way, especially when it comes to musical works that come from an obsolete milieu, the nature of which relatively few would take the time to understand. Ariadne was a very popular opera in the days before Handel, well regarded enough that it was revised and revived two decades after its composer died. Then it disappeared again until 1970, when the score was rediscovered and the performance was captured on the CPO set led by lutenists Stephen Stubbs and Paul O'Dette, the first given since 1722. From the scant color images included in the booklet, this Boston Early Music Festival performance looks like it was a sumptuous one.

However, the music is the main thing that impresses one about Ariadne; no Baroque opera can be this good. Nevertheless, it is; Conradi's music is achingly beautiful and the libretto a concise and emotionally satisfying rendering of the familiar plot. The band is just of the right proportions and plays exquisitely well, with the music paced for maximum effect. While the star of the show, soprano Karina Gauvin, is excellent, everyone in the cast does a great job of portraying these roles in characterizations that help keep this long opera moving, and therefore, interesting. The book is in three languages and includes the complete text of the opera.

Sometimes one is compelled to take the good with the bad in order to get to know an oddball and completely unfamiliar work such as Ariadne. With CPO's set, there is literally nothing to complain about -- it's first tier all the way, and should be essential listening for anyone who is interested in Baroque opera.