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Wydawnictwo: Orfeo
Seria: Orfeo d'Or
Wiener Staatsoper live
Nr katalogowy: C 817112
Nośnik: 2 CD
Data wydania: grudzień 2011
EAN: 4011790817224
82,00 zł
14,6% taniej
70,00 zł
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: 20 wiek do 1960
Obszar (język): niemiecki
Rodzaj: opera

Strauss: Ariadne auf Naxos (Oper in einem Aufzuge nebst einem Vorspiel)

Orfeo - C 817112
Erich Kunz, Der Haushofmeister - Sprechrolle
Walter Berry, Musiklehrer - Bariton
Agnes Baltsa, Der Komponist - Mezzosopran
James King, Bacchus - tenor
Gundula Janowitz, Ariadne/Primadonna - sopran
Edita Gruberova, Zerbinetta - sopran
Barry McDaniel, Harlekin - Bariton
Kurt Equiluz, Scaramuccio - tenor
Manfred Jungwirth, Truffaldino - Baß
Gerhard Unger, Brighella - tenor
Hilda Groote, Najade - sopran
Axelle Gall, Dryade - Alt
Sona Ghazarian, Echo - sopran
Orchester der Wiener Staatsoper / Karl Böhm
Nagrody i rekomendacje
ICMA Award Nomination Klassik.com 5 Diapason 5 Choc de Classica Pizzicato Supersonic
Ariadne’s metamorphoses

The depth must be hidden.

Where? On the surface.

(Hugo von Hofmannsthal on Ariadne auf Naxos)

Ariadne auf Naxos was the third collaboration between Hofmannsthal and Strauss and was intended to build on the success of Elektra and Der Rosenkavalier, but what started out as a small-scale literary and musical exercise designed to keep their hand in – namely, an adaptation of one of Moliere’s comedies for Max Reinhardt’s theatre in Berlin in the form of incidental music and an operatic divertissement – suddenly ended up as a source of profound discard. The letters that passed between the two men in 1911, while they were working on the first version of Ariadne auf Naxos – intended to follow on from a German adaptation of Moiré’s Le Bourgeois gentilhomme – attest to the rift that opened up between them and that affected Hofmannsthal in particular. Strauss was initially unenthusiastic about Ariadne as an operatic subject but warmed to the idea of Moliere’s comedy with its “table music”, its little ballet for dancing master, tailors and cooks, its coloratura arias and its Mozartian rondeaux. And so we find him writing to Hofmannsthal in his usual droll way: “I hope that the scene before the beginning of the opera (in other words, the Prelude) will be very witty. Please fire off volleys of malice and satire and every kind of self-parody.” And, shortly afterwards, “As the dramatic action (of the opera) is in itself rather thin, everything will depend on the poetic execution. But with you one doesn’t’ have to worry about verse that has real energy and flair to it. So kindly saddle your Pegasus”

Live Recording, 20. November 1976

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