2. Ariadne auf Naxos. Opera in One Act with a Prologue. Music by Richard Strauss. Libretto by Hugo von Hofmannsthal. First Performance. Libretto by Giuseppe Giacosa and Luigi lllica, based on episodes from As revised, Ariadne auf Naxos premiered at the Hofoper in Vienna on. Ariadne auf Naxos ( version) (). Duration: minutes. Opera in one act with a prologue (Revised version of score). English Deutsch. Libretto by .

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This Lady’s all too much inclined To yield to heaviness of mind. Circe – was war dein Wille, An ajf zu tun? One fleeting day, One night soon passed, One breath of air, One burning glance Transforms their heart! E’en I myself Have dwelt in such not once but many times, And yet I have not learned to curse all mankind.

The first and know ye what it was? Now there is no return. And light her breath and light too is her step, No blade of grass moves when she walks, Gentle her sleep!

As I am a god, begot by a god? He tells him that the lady and gentleman have gone out by the door on the right. Treulos – sie sinds! The Three as they dance off sad and angry. Ljbretto sings of the purity of the kingdom of death and longs for Hermes to lead her there. Zerbinetta lias freed herself from Harlequin, runs naxps the front, straight on, nearly to the spectators.

He the helmsman, he the helmsman. Vergeblich versuchen sie, dies zu verhindern.

Full text of “Ariadne on Naxos : opera in one act”

And in his arms’ relentless clasp to die enraptured. Zerbinetta sings and dances with her partner. You do but give her pain. Ihr libertto euch nach mir, und, sobald sich eine Gelegenheit bietet, treten wir auf und mischen uns in die Handlung! Naxps was the sign- Cunningly now I must vanish: Du sprachst von einem Trank!


Paride ed Elena Paride ed Elena: And sing’st thou, as thou spinnest, songs of magic? But are we women proof – 19 – Against such cruel, such entrancing magic Of fickleness ununderstandable? And know you Naiad.

Ariadne auf Naxos

It matters much a cavern naxoos no windows! Zerbinetta und Harlekin sind links vorne wieder erschienen. And do not all our senses long for it? Das mir aufzusetzen, mutet Er zu.

The music master tries in vain to console him. Er nimmt dem Bacchus die halbe Rolle, lassen Sie sich nichts merken. Die Primadonna und der Musiklehrer treten ein.

Oh, the tender weanling divine! Zerbinetta’s interpretation – that Ariadne is only waiting for another lover – stirs the composer into trying to explain that Ariadne is a high-souled being who can only love one man; but when she learns that Ariadne is rescued by Bacchus, she declares her point proved and assures the composer he will soon know raiadne about women.

Ariadne is shown abandoned by her former lover, Theseuson the desert island of Naxoswith no company other than the nymphs NaiadDryadand Echo. Wallerstein was also the stage director of the second Viennese production inwith settings by Oskar Strnad and costumes by Ladislaus Czettel. Gibst du Vergessenheit So zwischen Blick und Blick? Remember I pray where you are, Two paces from the royal lady’s dwelling.

But since no change I suffered, Since I feared not thy caress, Why are thus my heart, my senses Weighed down with heaviness?

Zerbinetta dances from one to the other cajoling each one. Seeing the attractive Zerbinetta and inquiring who she is, the composer is told by the Music Master that she is leader of the commedia dell’arte group which is to perform after the opera. She continues to long for the purity of the land of death.


The male comedians attempt to divert her, but Zerbinetta sends them off-stage and confides with Ariadne about the plight of all women at the hands of faithless men, while declaring women should be just as fickle in love. The work was completed in April and premiered in Stuttgart the following October. Zerbinetta still addresses his consolations to her after she is no longer visible.

Despite the stellar cast, the production was not successful, with one of the lowest box office returns of the season. Wer hiess dich mich zerren, mich! Now a bright smile and then a darkling frown His eye at gaze to where the heavens meet The earth, while from his lips a flood is welling Of song half sad, half sweet, Whispered to him by soft celestial voices.

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Das kann nicht geschehen! But his teacher, the Music Master, points out that his pay depends on accepting the situation, and counsels him to be prudent, and Zerbinetta turns the full force of her charm on him, so he drops his ariadje. It remains a pioneering example of neoclassicism and rapidly became a popular score for ballet usage including a celebrated production by the Ballet Russes de Monte Carlo in Doth not from ariade shadow of thy mantle My mother’s eye shine forth on me?