EN
DE
IT
FR
ES
RU
JP
RO
© Petr Neubert
Ariadne on Naxos
Order tickets
November 2025  | ||||||
|---|---|---|---|---|---|---|
Mo | Tu | We | Th | Fr | Sa | Su |
Ariadne on Naxos – Richard Strauss | Opera
Approximate Running Time: 2 hours 30 minutes, including one 20-minute intermission
Language: Performed in German, with surtitles in Czech and English
Recommended Age: Suitable for audiences aged 12 and up
In the early 20th century, Richard Strauss shocked theatre-goers with two one-act operas, Salome and Elektra, that to an unprecedented degree conveyed heightened emotions by means of wild, ear-splitting musical expression, reaching sonic extremities. Yet the composer subsequently decided to change the style and make a conciliatory step towards opera audiences. First he wrote Der Rosenkavalier, a still widely popular piece, in which, however, the quintessential Straussian bustle both in the orchestra and on the stage still predominates, followed by the far more intimate and far more serene Ariadne auf Naxos. The latter’s original version, dating from 1912, was conceived as a postlude to Hugo von Hofmannsthal’s adaptation of Molière’s play Le Bourgeois gentilhomme, but in 1916 Strauss revised it into the form of an independent opera, in which it is most frequently performed today. Even though not anyhow indicated by the title, the principal theme of Ariadne auf Naxos is the competition and respect between “high” and “low” art. What is more, Strauss also reveals the timeless boorishness of those who, aiming to improve their poor cultural status, resolve to become “patrons of the arts”.
Strauss’s “comedy/tragedy” returned to the National Theatre in Prague after 45 years, this time as staged by the Slovak director Sláva Daubnerová, who has previously created for us several acclaimed adaptations of operas, including of Leoš Janáček’s The Excursions of Mr. Brouček and Rodion Shchedrin’s Lolita.
Synopsis
Prelude
Preparations for a private festivity at the house of a wealthy man are in full swing. The programme includes a serious music drama, Ariadne auf Naxos, by a fledgling composer, which is to be presented by an opera company. The major-domo tells the composer’s music teacher that a musical farce is also to be performed, by another troupe, with the evening culminating in a spectacular fireworks display. The music teacher raises objections to the programme, yet to no avail.
The two theatre companies began getting ready for their respective performances. Not yet aware of the changes, the young composer naively strives to hone his work, bring it to perfection at the eleventh hour. Yet upon finding out that his serious opera is to be followed by a vulgar comedy, his noble-art dreamworld collapses. More disastrous news ensues. The major-domo appears with a new order from his master: so that everything can be completed before the fireworks commence and so that the opera about Ariadne on a desert island does not bore the guests, the two plays, the serious opera and the saucy farce, will be performed concurrently, blended together. The opera company artists vehemently protest (again to no end), whereas the comedians embrace the idea and ask the composer to cut his piece so there will be space in it for comic characters too. The wretched composer capitulates...
Opera
Three nymphs – Naiad, Dryad and Echo – watch the sleeping Ariadne, pondering the forsaken woman’s fate. Ariadne, her slumber, weeping, laments about the lost Theseus and longing for death, is also observed and commented on by commedia dell’arte characters – Zerbinetta, Arlecchino, Brighella, Truffaldino and Scaramuccio. The men attempt to cheer Ariadne up with merry song and dance, yet without success. Zerbinetta then takes the floor and tries to convince Ariadne that giving up on life because of fickle men makes no sense at all. Love is a great and wonderful thing, but one man is not capable of satisfying a woman’s entire needs, so there have to be others... Yet Zerbinetta too fails to change Ariadne’s mind and, in order to dispel the lofty onstage tedium, proceeds to perform her favourite number – the men court Zerbinetta, who keeps escaping them, until – this time at least – she chooses Arlecchino...
The nymphs bring the news that a handsome, godlike youth has come to the island. He is none other than Bacchus, the god of farming and fertility. Ariadne initially takes him for the longed-for harbinger of Death, while Bacchus considers her a sorceress resembling Circe, from whose clutches he had once happily fled. Both Ariadne and Bacchus then slowly open their eyes and hearts, and, mutually mesmerised, passionately profess to each other eternal love.
Program and cast
Conductor: Johannes Witt
Der Haushofmeister - Dagmar Pecková
Ein Musiklehrer - Pavol Kubáň
Der Komponist - Arnheiður Eiríksdóttir
Der Tenor (Bacchus) - Magnus Vigilius
Ein Offizier - Petr Dvořák
Ein Tanzmeister - Jaroslav Březina
Ein Perückenmacher - Radek Martinec
Ein Lakai - Martin Matoušek
Zerbinetta - Ziyi Dai
Primadonna (Ariadne) - Cornelia Beskow
Harlekin - Lukáš Bařák, Roman Hoza
Scaramuccio - Josef Moravec
Truffaldin - Jan Hnyk
Brighella - Daniel Matoušek
Najade - Lenka Máčiková
Dryade - Michaela Zajmi
Echo - Yukiko Smetáčková Kinjo
National Theatre Orchestra
National Theatre Opera Ballet
Stage direction and Choreography: Sláva Daubnerová
Sets: Lucia Škandíková
Costume design: Tereza Kopecká
Light design: Daniel Tesař
Movement coach: Jan Adam
Videoart: Dominik Lukács Žižka
Dramaturgy: Ondřej Hučín
Estates Theatre
The Estates Theatre today
The Estates Theatre is one of the most beautiful historical theatre buildings in Europe. It has been part of the National Theatre since 1920. The Opera, Drama and Ballet ensembles give repertory performances at the Estates Theatre.
History
The Estates Theatre is one of the most beautiful historic theatre buildings in Europe. Its construction was initiated by the enlightened aristocrat František Antonín Count Nostitz Rieneck, led by the desire to aggrandise his native city as well as the souls of its inhabitants. The construction lasted less than two years and the Theatre was opened in 1783. This project, extremely important for the Prague of the time, was in keeping with the zeitgeist of the late 18th century, a time when national theatres were being built at European courts, royal seats and cultural centres in the spirit of the Enlightenment idea that a generally accessible theatre is a moral institution demonstrating the cultural level of the nation.
The first, sporadic Czech-language performances took place in 1785. From 1812 onwards there were regular Sunday and holiday matinees. At that time, these performances became to a certain degree a political matter too. Thus arising in the difficult years following the failed revolution in 1848 was the idea of a Czech National Theatre.
By car to the National Theatre car park
To the centre (OldTown), approach on Masarykovo nábřeží (Masaryk embankment) in the direction from the Dancing House, at the crossroads in front of the National Theatre turn right to Divadelní street and then right again to Ostrovní street to the National Theatre car park. Parking costs 50 CZK/h.
From there, walk to the Estates Theatre along Národní street, then 28. října street, turn left on to Na Můstku street and right to Rytířská street.
Other nearby secure car parks:
Kotva department store (Revoluční 1/655, Prague 1), then walk along Králodvorská street to Ovocný trh.
Palladium department store (Na Poříčí 1079/3a, Prague 1), then walk along Králodvorská street to Ovocný trh, or to the Powder Gate through Celetná street to Ovocný trh.
By tram
By daytime trams Nos. 6, 9, 18 and 22 or night trams Nos. 53, 57, 58 and 59 to the stop “Národní třída”, then by foot along Národní street, then 28. října street, turn left to Na Můstku street and right to Rytířská street.
By daytime trams Nos. 5, 8, 14 and 26 or night trams Nos. 51, 54 and 56 to the stop “Náměstí Republiky”, then on foot around the Municipal House to the Powder Gate, on Celetná street to Ovocný trh.
By daytime trams Nos. 3, 9, 14, 24 or night trams Nos. 52, 54, 55, 56 and 58 to the stop “Jindřišská”, then on foot along Nekázanka / Panská streets, turn left to Na Příkopě street and then right to Havířská street (from Na Příkopě street you can also walk through the Myslbek arcade).
By metro
To the station “Můstek”, lines A and B (green and yellow), then on foot through Na Můstku street and right to Rytířská street.
Related events