ARIADNE AUF NAXOS Florence 2022 Jessica Pratt, Krassimira Stoyanova, Markus Werba, Sophie Koch

• Work Title: Ariadne auf Naxos  
• Composer: Strauss Richard  
• Libretto: Hugo von Hofmannsthal    Libretto Text, Libretto Index
• Venue & Opera Company: Teatro della Pergola, Firenze, Italy, Maggio Musicale Fiorentino  
• Recorded: June 27-29, 2022
• Type: Staged Opera Live
• Singers: Jessica Pratt, Krassimira Stoyanova, Markus Werba, Sophie Koch, AJ Glueckert, Joseph Dahdah, Antonio Garés, Matteo Guerzè, Amin Ahangaran, Liviu Holender, Luca Bernard, Jacoub Eisa, Paul Schweinester, Maria Nazarova
• Conductor: Daniele Gatti  
• Orchestra: Fiorentino Maggio Musicale Orchestra  
• Stage Director: Matthias Hartmann  
• Stage Designer: Volker Hintermeier  
• Costume Designer: Adriana Braga Peretzki  
• Lighting Designer: Valerio Tiberi  

Information about the Recording

• Published by: Dynamic  
• Date Published: 2023  
• Format: DVD & BD
• Quality Video: 5 Audio:5
• Subtitles: ensubs, desubs, frsubs, itsubs, jpsubs, othersubs  
• Video Recording from: AMAZON     #ad   Get this Recording
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ADDITIONAL INFORMATION ON THIS PERFORMANCE

Quote from Maggio Musicale Fiorentino
Ariadne auf Naxos by Richard Strauss and Hugo von Hofmannsthal was born as an operatic divertissement for a performance of Molière’s Le bourgeois gentilhomme. The initial project provided for the one-act opera to be performed as a show presented in the palace of the protagonist of the comedy; a perfect example of theater within the theater. In this first form the work began on 25 October 1912 in Stuttgart under the direction of Max Reinhardt. However, the opera was more liked than the comedy and Hugo von Hofmannsthal decided to untie the two parts by giving life to Ariadne, to which he added a Prologue that holds the trick of the theater in the theater and in which the preparations for the show are described entertainment that a wealthy 18th century Viennese gentleman has decided to offer to his guests in his home. In the new form Ariadne auf Naxos debuted in Vienna on 4 October 1916. In this work Strauss and von Hofmannsthal face the myth of Arianna, which over the centuries had inspired many musicians from Monteverdi onwards, from an ironic and detached perspective, transferring the action in a hybrid dimension in which pathetic and comic elements coexist. The relationship that is established between the two narrative levels at stake – the reality of the Prologue and the artificial reality of the representation – creates a semantic short-circuit underlined by Strauss through the musical parody that feeds on heterogeneous stylistic features coming both from the serious work and from the funny. To make Ariadne‘s sonic appearance even more original, Strauss then resorted to an unusual orchestral ensemble that includes a baroque orchestra and foreign instruments such as the harp, harmonium, piano and percussion.