Organization

Conductor

Gregor Rot

Stage director

Jan Eßinger

Set designer

Benita Roth

Costume designer

Lena Brexendorff

Choreographer

Gianni Cuccaro

Dramaturge

Jón Philipp von Linden

Singer

Spoken

Helmuth Westhausser

The majordomo

Baritone

Frank Dolphin Wong

A music teacher

Soprano

Nohad Becker

The composer

Tenor

Peter Sonn

The tenor

Paata Tsivtsivadze

The officer

Lorin Wey

The dance master

Scaramuccio

Bass

Vladimir Lortkipanidze

The wigmaker

Bojan Heyn

A lackey

Katja Starke

The prima donna

Caio Monteiro

Harlequin

Yoshiaki Kimura

Truffaldin

Lianghua Gong

Brighella

Ariadne

Bacchus

Mezzo-soprano

Marta Wryk

Dryad

Cornelie Isenbürger

Echo

Vincent Wolfsteiner

Dmitri Vargin

Beate Ritter

Zerbinetta

Maida Hundeling

Lou Denès

Naiad

Dominik Beykirch

Alina Wunderlin

Ric Furman

Theater Bielefeld

Orchestra

Bielefelder Philharmoniker

vācu

Ariadne auf Naxos -  (Ariadne on Naxos)

Bielefeld

Germany

Stadttheater

Ariadne auf Naxos: Ariadne auf Naxos Strauss,R

Public

Ariadne on Naxos

Approved

Ariadne auf Naxos Strauss,R

Oper in einem Akt nebst einem Vorspiel / Libretto von Hugo von Hofmannsthal / In deutscher Sprache mit ÜbertitelnUnvorhersehbar und verschlungen wie das Laby...

Opera in one act with a prelude / Libretto by Hugo von Hofmannsthal / In German with surtitles Unpredictable and intricate like the labyrinth of the Cretan king Minos, whose daughter Ariadne helped Prince Theseus, who came from Athens, to escape from it with a thread, also appears Richard Strauss' opera "Ariadne auf Naxos". At least in appearance, because for theater professionals the look behind the scenes discussed in the first part of one, no, actually two, imminent performances is something of a home game. How the participants in a dance masquerade and a tragedy are set against each other by a certain »gracious gentleman« with the arbitrariness of the powerful is as timelessly authentic as it is ultimately irrelevant. Because when the curtain rises on the actual opera, proves once again that the art of theater and music are able to effortlessly overcome what confronts quarrelsome, self-serving, greedy people who ultimately just want to be loved with insurmountable obstacles. Ariadne, who had saved Theseus from certain death out of love and only against the promise of marriage, sees herself abandoned by him from behind. An improv theater group led by the lightning-smart Zerbinetta, who "coincidentally is on the desert island," suddenly bursts into her abysmal depression. But before anything like a friendly relationship can develop between the two protagonists, a completely new, ecstatic perspective is announced for Ariadne. And Strauss wouldn't be Strausshttps://bit.ly/TB_Ariadne

ARIADNE ON NAXOS - Theater Bielefeld

Opera in one act with a prelude / Libretto by Hugo von Hofmannsthal / In German with surtitles

Richard Strauss' opera Ariadne auf Naxos is as unpredictable and intricate as the labyrinth of the Cretan King Minos, whose daughter Ariadne helped Prince Theseus, who came from Athens, to escape from it with a thread. At least in appearance, because for theater professionals the look behind the scenes discussed in the first part of one, no, actually two, imminent performances is something of a home game. How the participants in a dance masquerade and a tragedy are set against each other by a certain »gracious gentleman« with the arbitrariness of the powerful is as timelessly authentic as it is ultimately irrelevant. Because when the curtain rises on the actual opera, it proves once again that the art of theater and music are able to effortlessly overcome what quarrelsome, self-important,

Ariadne, who had saved Theseus from certain death out of love and only against the promise of marriage, sees herself abandoned by him from behind. An improv theater group led by the lightning-smart Zerbinetta, who "coincidentally is on the desert island," suddenly bursts into her abysmal depression. But before anything like a friendly relationship can develop between the two protagonists, a completely new, ecstatic perspective is announced for Ariadne. And Strauss wouldn't be Strauss if he didn't pull out all the stops in his glittering late-Romantic musical wonder box for this finale...

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