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Juliana Zara and Annemarie Kremer lead the cast in a riotous, yet deeply touching, new production from Nederlandse Reisopera. 

Norwegian soprano Lise Davidsen returns to Sven-Eric Bechtolf's lean but polished production with an outstanding cast, outstandingly conducted. 

Fine vocal and musical performances can't overcome Sláva Daubnerová's staging which misses the mark.

An excellent singing cast combine with Bruno Ravella's sensitive direction and brilliant orchestral playing to bring to life Strauss' heady mix of farce and high art.

Rodula Gaitanou sets Richard Strauss and Hugo von Hofmannsthal's comedy in the Cinecittà film studios of the 1950s. 

The Norwegian soprano is acclaimed at the Met in Richard Strauss' mash-up of commedia dell'arte and tragic opera. 

A complex plot with great music and great theatre where Strauss showcases his compositional mastery.

Frederic Wake-Walker sticks to a vapid pop-parody that demeans the intellectual message of Strauss' Ariadne auf Naxos.

Tamara Wilson was a top-notch Ariadne, supported by a strong cast, including Kate Lindsey as a passionate Composer, a thrilling Zerbinetta by Daniela Fally, and an unbeatable Bacchus in Andreas Schager.

Christian Thielemann led a memorable performance of Strauss's chamber opera Ariadne auf Naxos with a strong cast in a new straightforward production by David Hermann.

A spirited and seamless production of Strauss’s Ariadne is aided by some excellent singing and playing at London’s premier summer opera festival.

Ariadne auf Naxos shines in an ultra-contemporary world of high net worth tantrums at Longborough Festival Opera, complete with glam rock fairies, giant string, and glorious music. 

Lise Davidsen and Sabine Devieilhe produce soprano heaven in their contrasting vocal styles. Katie Mitchell’s staging feels disappointingly familiar.

Antony McDonald’s take on Ariadne auf Naxos, a co-production from Scottish Opera and Opera Holland Park, sparkles with wit. 

A superlative cast and perceptive staging make for a gripping revival of Strauss’s Ariadne auf Naxos at the Glyndebourne Festival.

Lise Davidsen's Ariadne and Sara Hershkowitz' Zerbinetta shine in the Arctic Philharmonic's slightly lacklustre Ariadne auf Naxos

A well-sung revival of a witty and supremely theatrical production of Strauss’ operatic exposé.

The Nederlandse Reisopera celebrates Ariadne auf Naxos’centennial with a superb new production directed by Laurence Dale which looks as laving as it is pleasing to the ear.

Jane Archibald and Ruxandra Donose provide a compelling prologue to Ariadne auf Naxos, while Karita Mattila's majestic performance lights up the opera seria second half.

Seattle Opera closes its season with an Ariadne auf Naxos that highlights the comedy but only fitfully comes to life in the opera within the opera.  

Just sit right back and you'll hear a tale about a great conservatory production of Ariadne auf Naxos, with wonderful singing and visual delights aplenty.

Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).

The Glimmerglass Festival's updated Ariadne in Naxos contains comedy, character and great singing.

As revivals go, Karita Mattila and Jane Archibald make the Royal Opera's Ariadne auf Naxos a must-see.

Ariadne auf Naxos is the ideal Viennese opera: an entertainment by Richard Strauss and Hugo von Hofmannsthal that satirises the relationship between composer and patron.

A new production of Ariadne auf Naxos is a major draw in itself, but a queue for standing room whose end is on the other side of the opera house is news even in Vienna, especially when the performance is not the première, but the fourth in a run of five and also the one that Franz Welser-Möst left to Jeffrey Tate, who has conducted the piece to positive reviews before.

Richard Strauss and Hugo von Hofmannsthal’s Ariadne auf Naxos was first performed in 1912, in a production directed by Max Reinhardt. Unlike the version usually seen today, this first Ariadne was a long-winded play-opera-ballet hybrid, incorporating a full production of Molière’s Le bourgeois gentilhomme with dances to incidental music by Strauss followed by the short opera.

Richard Strauss’ outstanding catalogue of operas is part of the staple diet of opera houses around the world. From the musically and dramatically intense scores of Salome and Elektra to the romantically lush, emotional sweepings of Der Rosenkavalier, there is something in his canon for all manner of opera enthusiasts.

The gist of Ariadne auf Naxos, Richard Strauss’ opera-within-an-opera, is this: a demanding patron insists on having his entertainment for a given evening – a burlesque act and an opera – combined into one work, greatly upsetting the archetypal “serious artist” composer of the opera.

The Strauss opera Ariadne auf Naxos was inspired by the Moliere play The Middle-Class Gentleman. The richest man in Vienna has arranged for two entertainments--one a serious opera composed by a young man just for the occasion, and the other an Italian comedy group. He decides at the last minute to combine the two into one entertainment. If he were a proper gentleman, he would know better.

Tumblers and fire jugglers in rainbow colors. Singing nymphs soaring for stories into the air. Arias deeply dramatic and broadly comic. The Metropolitan Opera’s interpretation of Ariadne auf Naxos by Richard Strauss is a magical mashup of modern and classic, seria and buffa, technique and technology that pleases but falls short of terrific for this reviewer.

Richard Strauss's Ariadne auf Naxos boasts the most confusing cast list of any opera. Ariadne and Bacchus feature either as themselves or as "primadonna" and "tenor", in addition to figures from Greek mythology, we get Commedia dell'arte names like Scaramuccio and Truffaldino, there are backstage characters like the composer, the music master and the wigmaker, and a spoken part of the Major-Domo.