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Ariadne auf Naxos

on January 27, 2024
This is the page for the performance on January 27, 2024.
Music Richard Strauss Text Hugo von Hofmannsthal
→ Oper in einem Akt nebst einem Vorspiel


Cast 27.01.2024

Conductor Michael Boder
Production Sven-Eric Bechtolf
Stage Design Rolf Glittenberg
Costume Design Marianne Glittenberg
Lighting Design Jürgen Hoffmann
Der Haushofmeister Hans Peter Kammerer
Ein Musiklehrer Adrian Eröd
Der Komponist Tara Erraught
Der Tenor (Bacchus) Daniel Frank
Zerbinetta Sarah Aristidou
Die Primadonna (Ariadne) Krassimira Stoyanova
Offizier Oleg Zalytskiy
Tanzmeister Thomas Ebenstein
Perückenmacher Won Cheol Song
Lakai Marcus Pelz
Harlekin Clemens Unterreiner
Scaramuccio Carlos Osuna
Truffaldin Ilja Kazakov
Brighella Hiroshi Amako
Najade Maria Nazarova
Dryade Christina Bock
Echo Jenni Hietala


»Ariadne auf Naxos«, the third collaboration between Strauss and Hofmannsthal, premiered at the Vienna Court Opera in 1916 in its second (and known) version. The opera itself revolves around Ariadne's encounter with the ghosts of her loneliness. It is preceded by a nightmarish scherzo about theatre creators at the mercy of a patron's whims. 

Program booklet (2,50€)


The servants of the richest man in Vienna are busy preparing the stage for a performance in their master’s palace. Behind the scenes the two troupes hired for the occasion are making their preparations: the one troupe is to present its rendition of the first work by a young composer, the opera Ariadne auf Naxos, the other a dance masquerade in Italian buffo style. The mutual jealousy between the members of the two troupes causes emotions to run high. Even more so when the unexpected and incomprehensible programme change that the host, represented by his Majordomo, announces: at his wish, the two performances will not take place consecutively, but are to be presented simultaneously to the invited guests.

Deeply distressed, the Composer, who is concerned about the accurate realisation of his artistic vision, wants to withdraw his creation and abandon the first public performance. But the pragmatic Music Master and above all Zerbinetta, who is adept in all the skills of seduction and in no time has the inexperienced young Composer in her sway, persuade him to change his mind. With an emphatic hymn to music, the Composer bows to reality and the instructions of his patron. The opera Ariadne auf Naxos is accordingly performed in the desired manner, with interludes by a troupe of Italian comedians.


In front of a cave on the beaches of the island of Naxos, Ariadne awaits her death, as she has been deserted by Theseus, her rescuer and lover. And so she does not hear or pay attention to anything around her: not the three nymphs, not the comedians who try to cheer her up, not even Zerbinetta, who based on her rich experience in a breakneck aria advises the grieving Ariadne not to shed a tear over her vanished lover and to be open to a new love.

A radiant youth approaches from afar: Bacchus, the god of eternal renewal. He has just fled from the arms of the enchantress Circe, where he was unable to find what he was looking for. Ariadne, taking him for a messenger of death, goes to meet him and immediately, without realizing it, becomes inflamed with an ecstatic passion that is reciprocated by the god. Each transformed by the other and as if newborn, Ariadne and Bacchus conclude the opera as a well-nigh mys- tically united couple.