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Organization

Cantor

Soprano

Emily Magee

Primadonna

Ariadne

Elena Mosuc

Zerbinetta

Eva Liebau

Najade

Mezzo-soprano

Marie-Claude Chappuis

Dryade

Eleonora Buratto

Echo

Tenor

Jonas Kaufmann

Der Tenor

Bacchus

Roberto Saccà

Barítono

Gabriel Bermúdez

Harlekin

Michael Laurenz

Scaramuccio

Baixo

Tobias Kehrer

Truffaldin

Martin Mitterrutzner

Brighella

Spoken

Peter Matic

Der Haushofmeister

Cornelius Obonya

M Jourdain

Thomas Frank

Der Komponist

Michael Rotschopf

Hofmannsthal

Stefanie Dvorak

Nicolina

Maestro

Riccardo Chailly

Diretor de Palco

Sven-Eric Bechtolf

Cenógrafo

Rolf Glittenberg

Marianne Glittenberg

Designer de Iluminação

Jürgen Hoffmann

Coreógrafo

Heinz Spoerli

Dramaturgo

Ronny Dietrich

Eine Schäferin

Ein Schäfer

Regina Fritsch

Ottonie

Dorine

Salzburger Festspiele

Orchestra

Wiener Philharmoniker

alemão

Ariadne auf Naxos -  (Ariadne em Naxos)

Salzburgo

Áustria

Haus für Mozart

The first opera premiere of the Vienna Philharmonic at the 2012 Salzburg Festival – conducted by Daniel Harding – shows a well-known work in an unusual guise: Richard Strauss' Ariadne auf Naxos was first performed in the original version a hundred years ago. The Salzburg Festival is also celebrating this anniversary as a homage to the three founding fathers, as Strauss and Hofmannsthal dedicated this opera to Max Reinhardt.
Ariadne auf Naxos was the third joint work by Richard Strauss and Hugo von Hofmannsthal and was written immediately after the great success of Der Rosenkavalier. Originally planned as a “divertissement with a small chamber orchestra”, the project grew into a major project that combined opera, drama and ballet – and failed at the premiere in 1912. The Salzburg Festival is now committed to "the still wonderful dream of its creators: to bring together the most diverse forms of theatre, ballet, drama, music and singing." Sven-Eric Bechtolf directs this unconventional production and has Molière's play Der Bürger als Edelmann , which preceded the opera at the time, not only adapted, but also reinserted the later composed ballet music. "A hundred years have passed since Hofmannsthal began to work on the material with the rabidly practical and dramaturgically highly talented Strauss, a hundred years since the disastrous premiere of Ariadne auf Naxos. We are taking this 'anniversary' as an opportunity to look at the original version again. Where else would this make more sense than in Salzburg” (Sven-Eric Bechtolf).

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