Recommended for Grades 6-12
In this resource, you will:
- Learn the opera’s background and synopsis
- Meet the opera’s composer
Ariadne auf Naxos
by Richard Strauss
Ariadne auf Naxos
by Richard Strauss
A quick overview of Strauss’ 1916 mixing of commedia dell’arte with opera seria.
Background
In 1911, Richard Strauss and his librettist Hugo von Hofmannsthal (1860–1920) were riding the crest of the incredible success of their recent opera, Der Rosenkavalier. Searching for a new project, they specifically wanted to work with the Berlin theater troupe of their producer, Max Reinhardt, who had recently assisted in mounting Hofmannsthal’s play Elektra (which inspired Strauss’ later opera of the same title) and their opera Der Rosenkavalier. Interested in the Greek myth of Ariadne, Hofmannsthal proposed a one-act chamber opera to follow French playwright Molière’s Le bourgeois gentilhomme.
Though the premiere in 1912 earned great critical acclaim, audiences were impatient with the length of the combined performances and other venues were uninterested in reprising a costly production that required both a theater troupe and an operatic ensemble. The critic Richard Specht suggested that Molière’s play be converted into a prologue with music, and Strauss and Hofmannsthal immediately set to work on revisions.
Shifted from the seventeenth to the nineteenth century in its second version, Ariadne became a gently satirical artistic debate, contrasting the artificial conventions of opera seria with the direct, slapstick humor of commedia dell’arte.
The revised work premiered in 1916 to great success and the opera was gradually accepted into the canon of 20th century classical masterpieces.
Synopsis
The Prologue
The richest man in Vienna is entertaining his guests with a lavish supper, followed by a double entertainment featuring a specially-commissioned opera and then a troupe of Italian comedians. A fireworks display is scheduled to cap off the evening at nine o’clock precisely. The music master complains to the major-domo that his young pupil, who composed the opera Ariadne auf Naxos, will be upset when he finds out that his serious work must compete with a lowbrow comedy, The Fickle Zerbinetta and Her Four True Lovers.
The composer anxiously tries to settle a few last-minute details. In the bustle of the backstage chaos, the tenor argues with the wigmaker and the prima donna attends to her own last-minute preparations. The composer is charmed by the pretty Zerbinetta, but is horrified to learn of the buffoonery that will take the audience out of the rarefied world of Ariadne. The music master warns him that he must simply learn to adapt.
As both companies take their places, the major-domo announces that their host has changed his mind. In order to enliven the evening, Ariadne and The Fickle Zerbinetta are to be performed simultaneously. While the tenor and prima donna suggest cuts in the other’s role, Zerbinetta and her troupe plan their improvisations and the composer despairs that his first opera will fail miserably.
The Opera
The princess Ariadne has been deserted by her lover, the Athenian hero Theseus, on the island of Naxos. In her grief, Ariadne has retreated to a cave to die. While she sleeps, she is watched by nymphs, Naiad, Dryad and Echo, who bear witness to Ariadne’s endless tears and lamentation. Ariadne awakes, obsessed with the idea of death as a release for her suffering. The comedians appear and try to console her; Harlequin gently points out that it would be inhuman not to feel such emotions as joy or—in this case—pain.
Ariadne does not listen to any of them. She looks forward to the arrival of Hermes, the messenger of death, who will free her from her burdensome life. The comedians return and try to enliven Ariadne with a dance, explaining that time and merriment will make her forget her suffering. Zerbinetta sends her four suitors away to speak directly to Ariadne. All women have been deceived in love, but Zerbinetta has never let that bother her. After all, women too have always had changes of heart. She catalogues the many lovers that she has had and left, never capriciously, but because she was compelled by a new love. “Each one came like a god and transported me, but when the next ‘god’ approached, I surrendered without a word.”
Ariadne pays no attention, however, and retreats into her cave. In Ariadne’s absence, each of the four suitors tries to win Zerbinetta’s affection. She gleefully dances from one to another, but soon disappears with Harlequin.
The nymphs suddenly appear, breathlessly heralding the arrival of the young god Bacchus, recently escaped from the enchantress Circe. At first, Ariadne mistakes him for the messenger of death, eager to surrender to him. Bacchus is entranced by her beauty, and Ariadne is astonished to find herself reawakening to life and love. Zerbinetta returns to comment slyly that she knew this would happen all along.
Synopsis by Mark Lyons
Meet the Artists
Listen to the Story
Antoine Coypel (1661-1722), Bacchus and Ariadne on the Isle of Naxos, 1693 [].
Presented by Washington National Opera, host Saul Lilienstein takes you through the musical world of Strauss’ 1916 mixing of commedia dell’arte with opera seria, Ariadne auf Naxos.
Watch an Excerpt
Lise Davidsen sings “Es gibt ein Reich” from the Metropolitan Opera’s produiction of Ariadne auf Naxos.
Related Resources
Media Elektra
A quick overview of Strauss’ 1909 opera based on Sophocles’ tragedy.
Media Salome
A quick overview of Strauss’ 1905 passionate drama.
Media Opera's Late Romantic Era: 1865-1920
Uncover the driving forces behind opera’s fiercest era, including Europe’s semi-unhealthy obsession with death, desire, and nationalist identity—all of which sparked a wild streak of artistic innovation and some truly iconic music for the stage.
Media Boy Meets Girl, Girl Meets Tragic End
Opera has always been addicted to love, and its romances can range from the hilarious to the dramatic. But don’t expect a standard “Boy Meets Girl” story when you take your seat at the opera house.
Kennedy Center Education Digital Learning
Eric Friedman
Director, Digital Learning
Kenny Neal
Manager, Digital Education Resources
Tiffany A. Bryant
Manager, Operations and Audience Engagement
JoDee Scissors
Content Specialist, Digital Learning
Connect with us!
Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.
Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;
Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..
The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.