Ariadne auf Naxos

Richard Strauss

Jérémie Rhorer and Katie Mitchell revisit the Viennese tradition of character opera. A formidably effective performance within a performance.

Ariane à Naxos © Vincent Pontet
Ariane à Naxos © Vincent Pontet
Ariane à Naxos © Vincent Pontet


Jérémie Rhorer direction
Katie Mitchell staging 
Heather Fairbairn staging reworking
Martin Crimp dramaturgy 
Joseph W. Alford movements
Chloe Lamford sets 
Sarah Blenkinsop costume designer 
James Farncombe lights

Camilla Nylund Ariane
Roberto Saccà Bacchus
Kate Lindsey The composer 
Olga Pudova Zerbinetta 
Huw Montague-Rendall Harlequin
Jonathan Abernethy Brighella
Emilio Pons Scaramuccio 
David Shipley Truffaldino 
Beate Mordal Naiad
Lucie Roche Dryad 
Elena Galitskaya Echo
Jean-Sébastien Bou A music master 
Marcel Beekman A dancing master 
Petter Moen An officer 
Jean-Christophe Lanièce A wigmaker
Maik Solbach The Major-Domo 
Guilhem Worms A lackey
Rainer Sievert, Anna Daria Fontane actors

Orchestre de chambre de Paris

  Wednesday 13 March 2019 6.30pm 
Meeting with the artistic team / Free entrance - Regsiter online

Approximate running time
1st part: 45mn - Intermission: 25mn - 2e partie : 1h25 environ

Sung in German with French and English subtitles 

From the very opening bars of the work, the breath-taking powers of invention of the composer are strikingly apparent, and this is sustained to the very end. Hoffmansthal’s libretto must undoubtedly take a share of the credit as he makes deft use of the device of a performance within a performance. Strauss and his librettist pit the spoken and sung word against each other on the pretext of organising a performance of a short opera (also called Ariadne on Naxos ) and a divertimento in the Commedia dell’arte tradition. The two companies involved vie with each other in aesthetic debates and amorous quips, which continuously spice up the preparations and performance. However, this also provides an opportunity to take vocal virtuosity to its peak (as for example in the famous aria by Zerbinetta – eleven minutes of sheer operatic inventiveness) and the whole work is enhanced by the sumptuous orchestration of Strauss, who was at the height of his powers of composition. A guaranteed treat for the senses.

For this “performance within a performance” to which we are invited by Strauss and Hofmannsthal, we renew our acquaintance with Jérémie Rhorer on the rostrum of the Orchestre de chambre de Paris (in “Mozart” formation, and clearly in its element with the undeniably traditional nature of this chamber opera) and a wonderful cast, notably that great Strauss singer Finnish soprano Camilla Nylund, tenor Roberto Saccà, also a regular performer of the works of the Viennese master, the delightful Olga Pudova and Kate Lindsey, and that consummate musical maestro Jean-Sébastien Bou. British director Katie Mitchell has demonstrated the full scope of her dramatic skills and directorial work with actors in recent performances at the Festival d’Aix-en-Provence. This new production of Ariadne has been performed in July 2018 at the Festival d’Aix. 

Production du Festival d’Aix-en-Provence, en coproduction avec le Théâtre des Champs-Elysées, les Théâtres de la Ville de Luxembourg, le Royal Danish Opera, le Finnish National Opera et le Gran Teatre del Liceu.


Ariane à Naxos Strauss

Ariane à Naxos Strauss

Ariane à Naxos Strauss

Ariane à Naxos Strauss

Ariane à Naxos Strauss


Ariadne in Paris

Cookies and plotters improve your experience on the website.
By continuing your navigation, you accept their use. For more information click here