Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Ariadne auf Naxos

Das Staatstheater Darmstadt inszeniert die erste Fassung Ariadnes mit Molières barocker Ballettkomödie Der Bürger als Edelmann.

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

Reprise mitigée de l'opéra de Richard Strauss au Théâtre des Champs-Elysées : Olga Pudova, Camilla Nylund et Kate Lindsey tiennent le haut du pavé ; Katie Mitchell échoue à divertir.

Le metteur en scène Michel Fau ne répond pas à toutes les questions que suscite l'ouvrage bipartite de Richard Strauss. Sous la direction énergique d'Evan Rogister, la distribution suscite l'enthousiasme.

Großartige schauspielerische Leistungen sowie mitreißende musikalische Präsenz von Solisten und Orchester prägen einen fulminanten Opernabend am Mainfrankentheater.

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.

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

Mit Ariadne auf Naxos von Richard Strauss zeigt die Bayerische Staatsoper, dass auch eine Wiederaufnahme für musikalische Höhepunkte sorgen kann.

Kirill Petrenko donnait en version de concert au TCE l'opéra qu'il dirigera bientôt sur scène à Munich, avec le même cast. Il avait cependant une guest star de luxe, le Bacchus de Jonas Kaufmann. Une soirée où la musique était à la fête et où le théâtre était quand même présent.

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.

Un très beau plateau pour cette reprise de Ariadne auf Naxos, avec notamment le retour à l'Opéra de Paris de Karita Mattila, Elena Moşuc et Klaus-Florian Vogt.

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.