
Nikolai Rimsky-Korsakov

Alexander Tchaikovsky

Wolfgang Amadeus Mozart

Georges Bizet

Giacomo Puccini

Nikolai Rimsky-Korsakov

Mieczysław Weinberg

Pyotr Tchaikovsky

Giacomo Puccini

Giuseppe Verdi

Giacomo Puccini

Sergei Banevich

Nikolai Rimsky-Korsakov
Francesco Cilea

Sergei Prokofiev

Modest Mussorgsky

Dmitry Shostakovich

Richard Wagner
Camille Saint-Saëns

Pyotr Tchaikovsky

Gaetano Donizetti

Benjamin Britten. Camille Saint-Saëns

Georg Philipp Telemann

Hector Berlioz

Pyotr Tchaikovsky

Wolfgang Amadeus Mozart

Jacques Offenbach

Sergei Prokofiev. Maurice Ravel

Tatiana Kamysheva

Pyotr Tchaikovsky

Wolfgang Amadeus Mozart
César Cui. Igor Stravinsky

Richard Strauss

Gioachino Rossini

Dmitri Shostakovich

Gioacchino Rossini
Alexander Ostrovsky, music by Pyotr Tchaikovsky

Giuseppe Verdi

Anton Rubinstein

Richard Strauss

Grigory Frid. Udo Zimmermann

Benjamin Britten

Georges Bizet

Dimitry Rostovsky

Modest Mussorgsky

Umberto Giordano

Pyotr Tchaikovsky
Ruggero Leoncavallo
Andrei Rubtsov

Giuseppe Verdi

Wolfgang Amadeus Mozart

Alexei Verstovsky

Dmitry Shostakovich

Wolfgang Amadeus Mozart

Ariadne auf Naxos might be the most nonstandard opera by the outstanding tandem of composer Richard Strauss and poet Hugo von Hofmannsthal. It is not only because of the story of its creation. It seemed to unite what cannot be united: a crude comedy and a lofty tragedy, Viennese primness and mischief, and the masks from the Italian commedia dell'arte.
The story of its creation started in 1911, when Richard Strauss and his constant co-author Hugo von Hofmannsthal decided to thank director Max Reinhardt for his invaluable help with the preparation of the world premiere of the opera Der Rosenkavalier. Hofmannsthal wrote to his father: “Together we wish to create a completely unusual opera, exclusively for a chamber cast that will be performed at Reinhardt’s as an insertion in a production”. At the time, Hofmannsthal was reworking the play Le Bourgeois gentilhomme by Molière and planned to use Ariadne auf Naxos as the ending to his recomposed play: “It is one of the most private and most dear works for me; it was conceived as a complete play, consisting of parts, it can exist, can appear only where a lofty theatre genius is capable of arranging the parts…”
Premiered on June 30, 2016.
Presented with one interval.
Sunday, 14:00
Saturday, 19:00
Friday, 19:00
Sunday, 14:00
Saturday, 19:00
Thursday, 19:00
Wednesday, 19:00
Thursday, 19:00
Wednesday, 19:00
Prologue
In the house of a rich man, preparations are in progress for the performance of a new opera seria, Ariadne auf Naxos. The major-domo enters to inform the music master that immediately after the opera an Italian comedy will be performed, followed by a fireworks display in the garden. The outraged music master replies that the composer, his young pupil, will never tolerate that, but the major-domo is unimpressed by his objections and leaves. When the composer appears, hoping for a last-minute rehearsal, a disdainful servant tells him that the musicians are still playing dinner music. Suddenly the tenor rushes from his dressing room, arguing with the wigmaker. The prima donna furiously comments on the presence of the comedy troupe and their leading lady, Zerbinetta. In the middle of the confusion, the major-domo returns with an announcement: in order for the fireworks to begin on time, the opera and the comedy are to be performed simultaneously.