Bachtrack logo
Programación
Críticas
Artículos
Noticias
Video
Site
Jóvenes artistas
Viajes

Ariadne auf Naxos

Estates Theatre (Stavovské divadlo)Železná, Staré Město, Praga, Central Bohemian Region, 110 00, República Checa
Fechas/horas en zona horaria de Prague
jueves 27 noviembre 202519:00
sábado 29 noviembre 202518:00
viernes 05 diciembre 202519:00
Intérpretes
Prague National Theatre Opera
Johannes WittDirección
Sláva DaubnerováDirección de escena, Coreografía
Lucia ŠkandíkováDiseño de escena
Tereza KopeckáDiseño de vestuario
Daniel TesařDiseño de iluminación
Prague National Theatre Orchestra
Prague National Theatre Chorus
Dominik Lukács ŽižkaVideoarte
Ondřej HučínDramaturgia
Tamara MorozováSopranoThe Primadonna (Ariadne)
Aleš BrisceinTenorThe Tenor (Bacchus)
Jana KurucováMezzosopranoComposer
Lucie KaňkováSopranoZerbinetta
Pavol KubáňBarítonoMusic Master
Jaroslav BřezinaTenorDancing Master
Lukáš BařákBajo-barítonoHarlequin
Lenka MáčikováSopranoNaiad
Michaela ZajmiMezzosopranoDryad
Yukiko KinjoSopranoEcho
Josef MoravecTenorScaramuccio
Jan HnykBajoTruffaldino
Marek ŽihlaTenorBrighella
Radek MartinecBarítonoWigmaker
Petr DvořákTenorOfficer
Martin MatoušekBarítonoLackey

In the early 20th century, Richard Strauss shocked theatre-goers with two one-act operas, Salome and Elektra, that to an unprecedented degree conveyed heightened emotions by means of wild, ear-splitting musical expression, reaching sonic extremities. Yet the composer subsequently decided to change the style and make a conciliatory step towards opera audiences. First he wrote Der Rosenkavalier, a still widely popular piece, in which, however, the quintessential Straussian bustle both in the orchestra and on the stage still predominates, followed by the far more intimate and far more serene Ariadne auf Naxos. The latter’s original version, dating from 1912, was conceived as a postlude to Hugo von Hofmannsthal’s adaptation of Molière’s play Le Bourgeois gentilhomme, but in 1916 Strauss revised it into the form of an independent opera, in which it is most frequently performed today. Even though not anyhow indicated by the title, the principal theme of Ariadne auf Naxos is the competition and respect between “high” and “low” art. What is more, Strauss also reveals the timeless boorishness of those who, aiming to improve their poor cultural status, resolve to become “patrons of the arts”.

The spectators of Strauss’s piece have a choice – like when switching between television channels, for a while they watch a serious opera about Ariadne, abandoned by her lover, and for a while a low-brow farce about the frolicsome Zerbinetta. Thus was the decision taken by the wealthy host of the bizarre performance, which cannot run a millisecond longer than scheduled, as art will be followed by fireworks and supper …

Strauss’s “comedy/tragedy” returned to the National Theatre in Prague after 45 years, this time as staged by the Slovak director Sláva Daubnerová, who has previously created for us several acclaimed adaptations of operas, including of Leoš Janáček’s The Excursions of Mr. Brouček and Rodion Shchedrin’s Lolita.

Críticas de Ariadne auf Naxos, Op.60 dirigida por Sláva Daubnerová

Mobile version