Admin

Organization

Singer

Soprano

Emily Magee

The prima donna

Ariadne

Elena Mosuc

Zerbinetta

Eva Liebau

Naiad

Mezzo-soprano

Marie-Claude Chappuis

Dryad

Eleonora Buratto

Echo

Tenor

Jonas Kaufmann

The tenor

Bacchus

Roberto Saccà

Baritone

Gabriel Bermúdez

Harlequin

Michael Laurenz

Scaramuccio

Bass

Tobias Kehrer

Truffaldin

Martin Mitterrutzner

Brighella

Spoken

Peter Matic

The majordomo

Cornelius Obonya

M Jourdain

Thomas Frank

The composer

Michael Rotschopf

Hofmannsthal

Stefanie Dvorak

Nicolina

Conductor

Riccardo Chailly

Stage director

Sven-Eric Bechtolf

Set designer

Rolf Glittenberg

Marianne Glittenberg

Lighting designer

Jürgen Hoffmann

Choreographer

Heinz Spoerli

Dramaturge

Ronny Dietrich

Eine Schäferin

Ein Schäfer

Regina Fritsch

Ottonie

Dorine

Salzburger Festspiele

Orchestra

Wiener Philharmoniker

alemany

Ariadne auf Naxos -  (Ariadne on Naxos)

Salzburg

Austria

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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