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Bei der Jubiläumsserie der Ariadne auf Naxos an der Wiener Staatsoper will trotz teils starker Gesangsleistungen keine wirkliche Feierstimmung aufkommen.

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.