Ariadne auf Naxos

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The audacity of Richard Strauss

Richard Strauss invented the “metaópera” more than a century ago: the opera within the theatre, such as this Ariadna auf Naxos. She is the lover that Theseus abandons and who Bacchus transforms into a constellation. “Death will extinguish the stars in the heavens ere you perish in my embrace”. The God of wine, agriculture and fertility surrenders to the beautiful and brave princess. Before us, we have one of Strauss’s most daring creations as we celebrate the 75th anniversary of the composer’s death.

A rich Viennese man organizes two opposing troupes of musicians and singers to coincide at his home with the bold idea that comedy and drama be performed at once. In a single act, preceded by a sort of prologue, the audience sees how the clever and intrepid Zerbinetta, first seduces and then chases off the contrite composer. Then, in the opera, she discovers the desolate Ariadne in a grotto ‐on the improvised stage‐ who has been abandoned to her fate by Theseus. Strauss crosses time and genres to study the relationship between the Cretan princess, daughter of King Minos, and an itinerant actress. The god Bacchus is who finally refutes Zerbinetta and her belief that all men no matter if they are gods‐ are unfaithful by definition.

A production by the Teatro de la Maestranza based on an original idea from the Theater Regensburg, with the musical direction of Guillermo García Calvo and staging by Joan Anton Rechi, whose production of Madama Butterfly we enjoyed in October 2021. Leading the cast are acclaimed soprano Lianna Haroutounian in the role of Ariadna and mezzosoprano Cecelia Hall as The Composer, along with an outstanding group of young artists.