Ariadne auf Naxos

Delightful comedy in which the strange desire of a wealthy, but art ignorant authority to perform an opera and a musical play at the same time is finally realized yet successful.
 

Prelude

The richest man in Vienna, a patron without any real understanding of art in cultural matters more gourmand than gourmet wants to pamper the guests at a soiree in his palace by a particularly rich offering: first a sumptuous meal, then the premiere of the new opera "Ariadne auf Naxos "to a" musical comedy in the Italian buffo style, finally at nine clock a crowning fireworks. The steward can orient the artists involved in this sequence. The representatives of the serious kind, in advance of the music teachers and the young composer of the commissioned work, are outraged by the comic sequel. The quintet, however, there are comedians lightly with the situation, especially as the dance master them predicts the larger audiences. When it was just about the scheduled start, can order the landlord about his arrogant agent with a recent change of mind: the two opposing pieces are not to go at the same time in a row, but in condensed form on the stage. For the rich man the mythical scene of a desert island by poor and tasteless, so should the staff of the farce that unpleasant defect to forget. The music teacher is at a loss, the creator of the opera labile despairs of the world. The prima donna and tenor do not occur and calm down until they hear that the new version just the other role is reduced. The resourceful dancing master explains his company briefly the plot of the opera, and recommends an improvised introduction to a suitable opportunity. Even the composer he can soothe irritated temporarily with a reference to the careers of his idols. But the trivial, frivolous words with which Zerbinetta their partners said the Ariadne substance excite him again. But with the utmost sophistication it is able to ensnare the pretty coquette: They too can a man be faithful, if only just the right meet. . . With passionate enthusiasm, the young artist's commitment to his "sacred music" and sees life suddenly in bright colors, to bring him back before the dazzling appearance of the actors in the reality. The events take their course, however, and the composer is the only criticism of his teacher: "... Who told me to pull you into this world, let me freeze to death, starve to death, petrified in the meinigenl"



The opera

The will of Theseus on the island of Naxos, abandoned princess Ariadne in her deep sorrow and forget just eagerly awaited death. The three spirits of nature Naiad, Dryad and Echo comment on its desolate condition. Since the turn Zerbinetta and their admirers. But the cheering song of Harlequin missed its effect. In a great monologue takes the death wish of Ariadne's visionary figure. Re-connect to the actors: "It is true whether jokes, singing good-whether from tears to dry a good eye." And Zerbinetta tries in a bravura aria for the consolation of woman to proclaim ("Who is the woman who had not suffered? Release! In despair! Exposed!") And, when Ariadne has retreated to her cave, her own life principle of the constant change: "When a god was all gone, and his step was already making me dumb ... Then she plays in an impromptu comedy their worshipers, the simple-minded Brighella, the daring Scaramuccio and clumsy Truffaldino against each other and gives Harlequin their favor.
Since announcing the spirits of nature a new turn. The young god Bacchus has moved out of the arms of the sorceress Circe and seam on his ship. The sight of Ariadne can be first on her lover Theseus, then think of the death messenger Hermes. But Bacchus their promises at his side a happy future: "I'll tell you now is only the life of lifts for you and me!" What the arts of Circe had failed, he experiences now, as a miraculous transformation in the feeling of first love: "You All You I'm the same person as I was the sense of God is alive in me ...!"
And follows as Ariadne on his arm of analysis ("my pain Do not be lost when you leave it alone, Ariadne"), is Zerbinetta constitutes the backdrop to their ambiguous rhyme: "If the new god approached, devoted we are dumb!"

Program and cast

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Vienna State Opera

Public Transport
 

Subway lines: U1, U2, U4
Trams: 1, 2, D, J, 62, 65
Buses: 59A
Local Railway: Badner Bahn
Stops: Karlsplatz / Opera

Taxi stands are available nearby.
 

Parking



Parking is only € 6, - for eight hours!

The Wiener Staatsoper and the ÖPARK Kärntner Ring Garage on Mahlerstraße 8, under the “Ringstraßengalerien”, offer the patrons of the Vienna State Opera a new, reduced parking fee. You can park in the Kärntner Ring Garage for up to 8 hours and pay only a flat fee of € 6, -. Just validate your ticket at one of the discount machines inside the Wiener Staatsoper. The normal rate will be charged for parking time greater than 8 hours. The validation machines can be found at the following coat checks: Operngasse, Herbert von Karajan-Platz, and the right and left and balcony galleries.

Important: In order to get the discount, please draw a ticket and do not use your credit card when entering the garage!

After devaluing your ticket in the Wiener Staatsoper you can pay comfortably by credit card or cash at the vending machines.

The machines accept coins and bills up to 50.- Euro. Parking time longer than 8 hours will be charged at the normal rate.
 

History



The structure of the opera house was planned by the Viennese architect August Sicard von Sicardsburg, while the inside was designed by interior decorator Eduard van der Nüll. It was also impacted by other major artists such as Moritz von Schwind, who painted the frescoes in the foyer, and the famous "Zauberflöten" (“Magic Flute”) series of frescoes on the veranda. Neither of the architects survived to see the opening of ‘their’ opera house: the sensitive van der Nüll committed suicide, and his friend Sicardsburg died of a stroke soon afterwards.

 

On May 25, 1869, the opera house solemnly opened with Mozart's Don Giovanni in the presence of Emperor Franz Joseph and Empress Elisabeth.
The popularity of the building grew under the artistic influence of the first directors: Franz von Dingelstedt, Johann Herbeck, Franz Jauner, and Wilhelm Jahn. The Vienna opera experienced its first high point under the direction of Gustav Mahler. He completely transformed the outdated performance system, increased the precision and timing of the performances, and also utilized the experience of other noteworthy artists, such as Alfred Roller, for the formation of new stage aesthetics.

 

The years 1938 to 1945 were a dark chapter in the history of the opera house. Under the Nazis, many members of the house were driven out, pursued, and killed, and many works were not allowed to be played.

 

On March 12, 1945, the opera house was devastated during a bombing, but on May 1, 1945, the “State Opera in the Volksoper” opened with a performance of Mozart's THE MARRIAGE OF FIGARO. On October 6, 1945, the hastily restored “Theaters an der Wien” reopened with Beethoven's FIDELIO. For the next ten years the Vienna State Opera operated in two venues while the true headquarters was being rebuilt at a great expense.

 

The Secretary of State for Public Works, Julius Raab, announced on May 24, 1945, that reconstruction of the Vienna State Opera would begin immediately. Only the main facade, the grand staircase, and the Schwind Foyer had been spared from the bombs. On November 5, 1955, the Vienna State Opera reopened with a new auditorium and modernized technology. Under the direction of Karl Böhm, Beethoven’s FIDELIO was brilliantly performed, and the opening ceremonies were broadcast by Austrian television. The whole world understood that life was beginning again for this country that had just regained its independence.

 

Today, the Vienna State Opera is considered one of the most important opera houses in the world; in particular, it is the house with the largest repertoire. It has been under the direction of Dominique Meyer since September 1, 2010.

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