Besides the opera, Strauss provided incidental music to be performed during the play. The audience openly expressed its disapproval of the piece by hissing after the first act. For the succeeding performances, Walter introduced cuts and moved the production to the Hoftheater, and the attendance began to improve. Somerset Maugham under the title The Perfect Gentleman. The reviewer in The Musical Times found the incidental music for the play to be more attractive than that for the opera, which nevertheless had "many strong emotional appeals. He also moved the action from Paris to Vienna.
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This translation is not adapted to the music for the purpose of being sung. High Soprano Alto Soprano. High Soprano Baritone. Bass Tenor. Ariadne at the mouth of the cave, stretched motionless. Naiad on the left. Dryad on the right. Echo at the back at the wall of the Grotto. She sleepeth? Sleepeth she? No, she weepeth! Weepeth sleeping! Hear her moaning!
She is always thus, alas! Day by day benumbed by sorrow, Dryad. She renews her bitter moan. Fever shakes her frame anew. Wounded heart that now and ever Now and ever. Fate defiest; All Three. For so long her pain endureth, That no more our senses heed it, Than the winds that through the tree-tops Whisper, or the rippling waves.
Use has dulled the edge of pity, For the days who knows their number Pass, and naught allays her pain. Ariadne on the ground. Where was I? Or still among the living? Wake I to pain? I live, but yet, ye gods, I live not truly: Oh shattered heart, oh, cease thy bootless throbbing.
Half rising. What was it then I dreamed? Alas, forgotten! O memory, art thou fled? This is a little monotonous, do you not find it so? That is the simplicity of the Great Style, it is that that men of taste place higher than any- thing else. Yes, yes. I find it very pretty, but I am sorry he has not used the hunting horn. Shadows are flitting Where one dark shadow broods: And then a quivering light and then the cruel pain!
Behind the scenes. How young! How great her sorrow! So childlike in her form, yet grief has marred her features! And hard the task, I fear to comfort her will be. Ariadne paying no heed to them, continues her monologue. Ariadne Gloried in sunlight and rejoiced in life!
Why know I aught, who fain would be forgetting? But one thing would I find: for it is shame To be no more myself! I must arouse myself: yea, I must find her, The maid that once was I.
She does nothing but complain. It makes one me- lancholy. I wish they had lit more candles. There are surely enough in the house.
She is dreaming of Theseus who has deserted her. Is he coming back? Hush, let us listen. I wish something more amusing would happen. I gave orders that. Rises from his seat to look for the Dancing Master.
Nay, not the name, the name has grown entwined Close with another name, for all things soon Are lost in other things. Ariadne with deprecating gesture. Not again! She dwells close by alone. And light her breath and light too is her step, No blade of grass moves when she walks, Gentle her sleep! She dreams on. I fear great grief has quite overthrown her mind. Will music soothe her pain? For certain, she is mad. Ariadne without turning her head, to herself, as if the last words fomd part of her dream.
Mad but with method. I know what blessings To sorrowing heart relentless Fate denieth. Ah, charm her with your singing from her grief. Love and Hate and Hope and Terror Every pleasure, every pain, Human heart can bear their anguish Once, and many a time again. Ariadne still motionless, dreams on. Zerbinetta half whispered parlando. She does not even lift her head!
Harlequin the same. It felt it as I sang. Pity for her sorrow quite unmans you. And perhaps you are not the same with every man? Ariadne to herself. A land there is whence all uncleanness, Is banished far the land of death. Rises from the ground as she speaks. Here all is tainted! Here nought is holy!
She fold her mantle round her. Soon a messenger approacheth Hermes do the gods him call. With his wand He urges on the huddled souls! Like birds that nutter, Like leaves all faded Drives he them on. Thou beauteous god serene! See, Ariadne waiteth! Then with a smile thy godlike features Towards me turning, quickly hither Thou wilt wing thy fight, and on me Press thy icy death-compelling hand.
It is thou wilt give me freedom, Thou wilt to myself restore me. This life and its burdens From me thou wilt lift, In thee shall I be lost completely, With thee will Ariadne dwell. The Four. Love betrayed and truly grieving Moves our compassion. Now striving to cheer her, This beauteous maiden Comes modestly near her With all her companions.
They dance. Sad lady, to cheer thee The beauteous maiden, Who now standeth near thee Did bid her companions. Zerbinetta all the four continue their dance. Behold them now dancing, Their dainty feet gleaming Should she not beholding Their sweet mazy measure, Find comfort and pleasure?
Ariadne auf Naxos
Devo proprio sbrigarmi! Corre nel camerino. Sin dalla culla una voce segreta mi ha predetto un simile accidente. Seine Gnaden ist gewohnt, anzuordnen und seine Anordnungenbefolgt zu sehen. Maestro di ballo Das finde ich sehr richtig. Lo trovo ragionevole. Compositore Sie ist das Sinnbild der menschlichen Einsamkeit.
Ariadne auf Naxos Synopsis
One group of musicians consists of opera singers employed to perform a very serious opera, "Ariadne auf Naxos. The major-domo arrives to announce the line up of events: the opera, then the comedy, and then fireworks in the garden. The composer enters the room hoping for one last rehearsal. The composer becomes outraged.