If you are not aware of the condition of Viennese society, literature
and thought from the 1850s to the beginning of the 20th century, it
isn't easy to decipher and understand the music and messages of composer
Richard Strauss and the character of Viennese society in that time.
Stephen, in his message below, is correct when he asks us to consider
"parody."
In the prologue of ARIADNE AUF NAXOS, the Composer sings that "Musik ist
eine heilige Kunst.." which Strauss and author von Hoffmanstahl ponder
over and over throughout the opera portion of ARIADNE, which plays as a
type of "second act" to the prologue. If "Muisc is a holy art" as the
Composer sings, then opera part of ARIADNE sets out to show us how, in
fact, it is NOT as holy as one thinks. Everything goes wrong that could
possibly go wrong in the premiere of this new work by the young
Composer. Remedies are applied that are tantamount to gluing am
expensive vase together with spit. Emotions are stirred to the point of
suicide, and when the "new god" appears things start to go better for
Ariadne, the character, as Bacchus tells her she will be transported to
new heights and there will be a "Verwandlung" or metamorphosis (as in
Kafka). Ariadne is transformed, taken away from all the chaos of the
world. Zerbinetta becomes the storyteller and predictor of future
events. Bacchus is a redeeming force, making it possible for something
that is "new" to come along and change the status quo.
This is commentary on the state of Viennese society of the turn of the
century, Johann Strauss, Jr. has just been buried, in 1899, but the
golden days of the waltz king are hardly over. They will be in the
throes of WWI within 15 years with the assassination of the Archduke
Ferdinand. The Hapsburgs will lose power. But then Richard Strauss
takes the waltz to new dimensions in ROSENKAVALIER, though.
von Hoffmanstahl wants something better than what Vienna, or Wien, has
to offer through music and the arts. You see this in the speaking role
of the Major Domo, who announces that both the opera of the young
Composer AND the cabaret show headed by Zerbinetta and her cronies be
performed "simultaneously" onstage, with all the props and costumes
necessary. And the two performances must end together as well, so that
fireworks can be seen promptly at 9:00 P.M. This, says the Major Domo,
has been ordered by the richest man in Vienna, in his Villa, where the
performance will take place.
So, it is parody and satire, as Stephen suggests below. Having sung
several roles in the opera myself, from the Perueckenmacher to Bacchus,
I feel personally very attached to every character and have much empathy
for the characters as created by Strauss and von Hoffmanstahl,
especially the young Composer, whose Music teacher is afraid that, under
the circumstances, the Composer may commit suicide as a result of the
actions of the Head of the house, the richest man in Vienna.
Seeing a performance of ARIADNE will definitely help to put the details
forth, if, indeed, the director understands the above. There is much
more that I could write, but I hadn't set out to write an article, just
a response to those unfamiliar with the character of Bacchus and what he
really represents --- change. And nobody likes change. The fury, then,
signifies a great deal.
Christopher
Stephen Goldberg wrote:
> Another take on the finale could easily be that it is parody, just as so
> much of the earlier scenes are. Ariadne kept singing about wanting to die
> while Zerbinetta kept telling her to wait for the "new god" to arrive. Of
> course Zerbinetta is proven right and to add a final comic touch, we get the
> promised fireworks, as well. I also think that listening to Ariadne on a
> recording is not the ideal way to experience the piece. You need to see a
> full production. Imho anyway.
>
> Stephen Goldberg
> Artistic Administrator
> Indianapolis Opera
> 250 E. 38th Street
> Indianapolis, IN 46205
> (317) 283-3531
> Fax: (317) 923-5611
> www.indyopera.org
> Ariadne auf Naxos - October 2 & 4, 2009
> La Bohème - November 20 & 22, 2009
> The Mikado - March 19 & 21, 2010
>
>
> -----Original Message-----
> From: Discussion of opera and related issues
> [mailto:[log in to unmask]] On Behalf Of James Bodge
> Sent: Monday, December 14, 2009 11:30 PM
> To: [log in to unmask]
> Subject: Re: "Ariadne" Final Duet: Sound and Fury Signifying Nothing
>
> I think to love ARIADNE, you have to learn to love the Bacchus scene. It
> certainly can be managed well, as tenors from Heppner back through King
> and Thomas to Jan Peerce (of all people) have proved. It is far and away
> from being even the "most ungrateful role for a tenor", though it sure is
> cruelly difficult. But then, Strauss had a lot of trouble with dramatic
> tenors - look at Menelaus in EGYPTIAN HELEN if you want to see a tough
> role.
>
> Done right, the apotheosis is wondrous. But then, I love ARIADNE.
>
> Jim Bodge
>
> At 07:49 PM 12/14/2009 -0500, Max D. Winter wrote:
>
>> I have been listening to "Ariadne auf Naxos" (a Met performance from 1976
>> with Caballé, Remedios, Welting, and Troyanos). I love most "Ariadne." The
>> prologue is a delight, and much of the Opera is divine - Ariadne's music,
>> especially "Es gibt ein Reich," Zerbinetta's aria, the Nymph trio. (The
>> interminable "Ei ei!" ensemble for the clowns is pretty weak, though.)
>>
> But
> >from Bacchus' entrance on (again, Nymphs excepted), is there a more empty,
>
>> bombastic stretch of music in all opera than that final duet? Perhaps, but
>>
> I
>
>> can't think of one right off hand. Dull as dishwater, too. And Bacchus has
>> to be the single most ungrateful role for tenor in all opera, a cruel
>> workout for a heldentenor - killer tessitura, screaming away above the
>>
> staff
>
>> - and very unflattering to most voices, and a complete dramatic cipher to
>> boot. Ariadne has a few lovely phrases in the duet, and of course the
>> Nymphs' beautiful berceuse makes a brief reappearance, but the rest is just
>> jabber - musical, dramatic, and philosophical.
>>
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