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Journal articles on the topic 'Ariadne auf Naxos= Ariadne on Naxos'

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Published: 26 July 2024

Last updated: 31 July 2025

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1

Araújo, Alberto Filipe, and José Augusto Lopes Ribeiro. "Ariadna en Naxos sobre el signo de la metamorfosis. Una contribución mitocrítica y educacional." DEDiCA Revista de Educação e Humanidades (dreh), no. 7 (March 1, 2015): 85–110. http://dx.doi.org/10.30827/dreh.v0i7.6940.

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El presente estudio realiza un análisis mitocrítico de Ariadna en Naxos (Ariadne auf Naxos) de Richard Strauss (1916), con un doble objetivo. El primero, comprobar la pertinencia de la tesis de Gilbert Durand sobre la permanencia, derivación y usura del mito cuando se aplica a textos literarios, libretos musicales, textos fundamentales de la cultura, de la ciencia y del arte, así como en soporte iconográfico, fílmico y musical. Nuestro segundo objetivo es reflexionar, desde el punto de vista de la hermenéutica simbólica, sobre el mensaje antropológico, psicológico y espiritual contenido en la

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2

Lücker, Arno. "ZAUBERSCHÖN!" Opernwelt 64, no. 4 (2023): 52. http://dx.doi.org/10.5771/0030-3690-2023-4-052.

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3

Grant, J. "Ariadne auf Naxos (1916 version)." Opera Quarterly 15, no. 3 (1999): 605–7. http://dx.doi.org/10.1093/oq/15.3.605.

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4

Hamilton, David. "Ariadne auf Naxos. Richard Strauss." Opera Quarterly 5, no. 4 (1987): 112–17. http://dx.doi.org/10.1093/oq/5.4.112.

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5

Baxter, R. "Ariadne auf Naxos. Richard Strauss." Opera Quarterly 22, no. 1 (2006): 179–81. http://dx.doi.org/10.1093/oq/kbi082.

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6

Müller, Regine. "Auf höchstem Niveau." Opernwelt 66, no. 6 (2025): 84–85. https://doi.org/10.5771/0030-3690-2025-6-084.

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7

Marcos Hierro, Ernest. "Metamorfosi i divinització a l'"Ariadne aux Naxos" d'Hugo von Hofmannsthal i Richard Strauss." Anuari de Filologia. Antiqua et Mediaeualia 2, no. 9 (2020): 143–52. http://dx.doi.org/10.1344/afam2019.9.2.14.

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Aquest article examina com un cas de «mythopoiesis» l’ús creatiu del mite de l’abandonament d’Ariadna a Naxos i de la seva unió posterior amb el déu Dionís-Bacchus a l’òpera Ariadne auf Naxos de Hugo von Hofmannsthal i Richard Strauss. Amb la introducció del personatge de Circe com a pretendent amorosa prèvia del jove déu, Hofmannsthal converteix el «deus ex machina» de la faula original en el subjecte d’un procés mutu d’enamorament amb Ariadne presentat com una «allomatische Verwandlung», una metamorfosi recíproca.

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8

May, T. "Ariadne auf Naxos: Revised version (1916)." Opera Quarterly 15, no. 3 (1999): 520–30. http://dx.doi.org/10.1093/oq/15.3.520.

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9

Haustein, Clemens. "Wo bleibt der Mut zum Happy End?" Opernwelt 66, no. 3 (2025): 6–8. https://doi.org/10.5771/0030-3690-2025-3-006.

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In Berlin inszeniert Tobias Kratzer «Die Frau ohne Schatten» teilweise brillant, in Hamburg verrennt sich Dmitri Tcherniakov bei «Ariadne auf Naxos». Beide aber wollen vom Mythos nichts wissen, ebensowenig von einem guten Ende VON CLEMENS HAUSTEIN

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10

Aleksić, Milica. "Ariadne's Weaving in the Musical-Visual Field." Kwartalnik Młodych Muzykologów UJ, no. 50 (3) (June 2022): 5–41. http://dx.doi.org/10.4467/23537094kmmuj.21.005.16099.

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Recognition and reflection of the radially structured semantic intertextual raster in the opera Ariadne auf Naxos Op. 60 by Richard Strauss and Hugo von Hofmannsthal, are the goals of this paper, with the awareness that ‘reading’ of this complex textual amalgam cannot be comprehensive and that this is only one of the possible ways of looking at different languages, their texts, and relationships in which they come in, with the emphasis on the connection between the music and architectural texts. The focus is to spot some of the paths in this specific music-scenic maze. The recognition of the ‘

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11

Sharypina, Tatiana A., and Polina D. Kazakova. "Creative Search by Richard Strauss and Hugo von Hofmannsthal in the Opera “Ariadne on Naxos”: to the Problem of Music and Words Interaction." Studia Litterarum 8, no. 1 (2023): 64–81. http://dx.doi.org/10.22455/2500-4247-2023-8-1-64-81.

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The subject of the article is the problem of the synthesis of arts in the creative collaboration of Hugo von Hofmannsthal and Richard Strauss. А special turn of the problem «music and word» is analyzed, when a musical performance arises in close cooperation between a composer, who is responsible for correcting the text and a writer dealing with the musical palette of their common creation. R. Strauss and G. Hofmannsthal were united by the very concept of the philosophical and aesthetic inheritance of F. Nietzsche, whose research predetermined the theoretical and philosophical basis of their co

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12

GILLIAM, BRYAN. "Ariadne, Daphne and the problem of Verwandlung." Cambridge Opera Journal 15, no. 1 (2003): 67–81. http://dx.doi.org/10.1017/s0954586703000673.

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The theme of transformation (Verwandlung) plays a significant role in the work of Richard Strauss, from his Tod und Verklärung (1889) to his Metamorphosen (1945). This article examines two Strauss operas where transformation is a central aspect of the libretto: Ariadne auf Naxos (1912/16), libretto by Hugo von Hofmannsthal, and Daphne (1937), libretto by Joseph Gregor. Though each opera focuses on transformation, this concept is interpreted and realized in entirely different ways. For Hofmannsthal, Verwandlung is a journey outward to a new level of existence, attaining a new sense of humanity.

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13

Glatthorn, Austin. "The Legacy of ‘ Ariadne’ and the Melodramatic Sublime." Music and Letters 100, no. 2 (2019): 233–70. http://dx.doi.org/10.1093/ml/gcy116.

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Abstract Georg Benda’s Ariadne auf Naxos (1775) was an immediate success. By the end of the century, not only was it in the repertory of nearly every German theatre, but it was also one of the few German-language pieces translated for performances across Europe. Central to this melodrama—traditionally defined as an alternation of emotional declamation and pantomime with instrumental music—is its evocation of the sublime. Though scholars have posited Ariadne and its defining aesthetics as a model employed in subsequent Romantic opera, such teleological readings overlook reform melodramas that e

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14

Walton, Chris. "STORKS AND OSTRICHES: AN EARLY PARODY OF STRAUSS'S ‘ARIADNE AUF NAXOS’." Tempo 59, no. 232 (2005): 40–47. http://dx.doi.org/10.1017/s0040298205000148.

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The name of the conductor Max Conrad is hardly one to conjure with. He admitted as much himself in the first paragraph of his memoirs, published in 1956: To be sure, I was born in Berlin, as was [Bruno Walter]; he attended the Askanische High School in Berlin – as did I; he left it without finishing his school leaving certificate – as did I; he studied music with teachers from the Stern Conservatory – as did I; and he soon became famous – and I … oh dear, now it becomes irregular, like a Greek verb …For more than 30 years, Conrad (1872–1963) played a major role in the operatic life of Zurich.

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15

HANNUM, H. G. "Artist and Audience in Die Meistersinger von Nurnberg and Ariadne auf Naxos." Opera Quarterly 12, no. 4 (1996): 35–46. http://dx.doi.org/10.1093/oq/12.4.35.

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16

KUHNS, R. "The Rebirth of Satyr Tragedy in Ariadne auf Naxos: Hofmannsthal and Nictzsche." Opera Quarterly 15, no. 3 (1999): 435–48. http://dx.doi.org/10.1093/oq/15.3.435.

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17

Ryan, Patrick J. "Ariadne Auf Naxos: Islam and Politics in a Religiously Pluralistic African Society." Journal of Religion in Africa 26, no. 3 (1996): 308–29. http://dx.doi.org/10.1163/157006696x00307.

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18

Klante, Wolfram. "Konstellation von Musik und Aufklärung am Gothaer Hof." Die Musikforschung 49, no. 1 (2021): 47–53. http://dx.doi.org/10.52412/mf.1996.h1.1016.

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Der behandelte Zeitraum ist durch den Beginn der 1753 von Melchior Grimm eröffneten <Correspondance littéraire> und den Rücktritt Georg Bendas vom Hofkapellmeisteramt 1778 eingegrenzt. Günstige Voraussetzungen für eine neue Epoche des Musiktheaters schufen die Besetzung der Hofkapelle, der italienische Kompositionsstil, das rationalistische Gedankengut Frankreichs und eine der weltlichen Kunst aufgeschlossene, von der Lektüre Leibnizens und Christian Wolffs geprägte Herzogin. Zwei markante Beispiele werden vorgestellt: das den tragischen Konflikt zwischen individuellem Schicksal und Staa

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19

Ahn , Sang Won. "A Study of Hybridity in the Opera Ariadne auf Naxos by Hugo von Hofmannsthal." Journal of Humanities 64 (February 28, 2017): 153–83. http://dx.doi.org/10.31310/hum.064.05.

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20

Steland, Dieter. ""Wie leichte Vögel, wie welke Blätter": Zu einem kryptischen Zitat in Hofmannsthals 'Ariadne auf Naxos'." Jahrbuch des Freien Deutschen Hochstifts 2013 (July 1, 2014): 344–52. http://dx.doi.org/10.46500/83531313-008.

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21

Scheidl, Ludwig Franz. "The relationship of Moliereis comedy Le Bourgeois Gentilhomme with Hugo Von Hofmannsthal's libreto of the Opera Ariadne auf Naxos." Biblos 1 (2003): 111–22. http://dx.doi.org/10.14195/0870-4112_1_6.

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22

Napolitano, Michele. "Hofmannsthal, Strauss. E Senofonte. Appunti su una possibile fonte greca per il finale di Ariadne auf Naxos." Antike und Abendland 68, no. 1 (2022): 101–26. http://dx.doi.org/10.1515/anab-2022-0006.

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23

Nagyillés, János. "Cornelia Naxos szigetén." Antik Tanulmányok 54, no. 2 (2010): 215–37. http://dx.doi.org/10.1556/anttan.54.2010.2.2.

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Lucanus Cornelia-alakja a nyelvi és motivikus utalások szerint Vergilius és Ovidius mitikus nőalakjainak rokona, de motivikus szinten sokat köszönhet Propertiusnak és Seneca tragédiáinak is. Lucanus Cornelia-narratívájában meglehetős bizonyossággal tételezhető tudatos nyelvi és motivikus utalás egyrészt Catullus Ariadnéjára, másrészt Ovidius több, hosszabb-rövidebb Ariadne-narratívájára. A tanulmány áttekinti az Ariadne-történetre való lehetséges utalásokat Lucanus eposzában. Rómában, ahol az Ariadne-történet legtöbbet emlegetett része a naxosi epizód volt, a krétai királylány alakjához kapcso

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24

Bartol, Krystyna. "While Theseus Was Sailing Away… PSI XV 1468 (= fr. 37 APHex): a Few Thoughts." Symbolae Philologorum Posnaniensium Graecae et Latinae 33, no. 1 (2023): 35–40. http://dx.doi.org/10.14746/sppgl.2023.xxxiii.1.4.

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The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece containing, most likely, the lament of Ariadne abandoned by Theseus on Naxos. The suggestion offered here (οὐκ or, better, οὐδ’ αἰδ]ὼς ἐν ὀνείρωι instead of δήλ]ωσεν ὀνείρωι or ὡς ἐν ὀνείρωι developed by other scholars) allows us to guess that the piece may have expressed Ariadne’s contradictory feelings and her moral dilemma.

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25

James, Paula. "How Classical is Ariadne's Parrot? Southall's Painting and Its Literary Registers." Ramus 39, no. 1 (2010): 53–72. http://dx.doi.org/10.1017/s0048671x00000539.

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In this article I suggest ways in which a gorgeously crafted, colourful, compelling 20th century painting of an abandoned Ariadne highlights both her tragic and comic presence in classical literary representations. Joseph South-all's 1925-6 work Ariadne in Naxos (tempera on linen, 83.5 × 101.6 cm), reproduced below, can be viewed in all its glory in the Birmingham City Art Gallery (bequeathed by the artist's widow, Anne Elizabeth, in 1948) but it was featured to fine effect in the 2007 exhibition The Parrot in Art: From Dürer to Elizabeth Butterworth, Barber Institute of Fine Arts, University

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26

Власова, Н. О. "“Our chief joint work”. Notes on Richard Strauss’ and Hugo von Hofmannsthal’s “Die Frau ohne Schatten”." Научный вестник Московской консерватории, no. 2(41) (June 19, 2020): 92–113. http://dx.doi.org/10.26176/mosconsv.2020.41.2.004.

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В статье на основе переписки Рихарда Штрауса и Гуго фон Гофмансталя, а также других документальных источников подробно освещается сложный и длительный процесс создания оперы «Женщина без тени», от первых набросков либретто (1910) до премьеры в 1919 году. Эта опера, которой оба соавтора придавали огромное значение, может рассматриваться как их совместный opus magnum, которому присущи итоговые черты. Гофмансталь очень долго и тщательно работал над либретто, объединив в нем множество источников, сюжетных мотивов, цитат, отсылок к различным текстам европейской культуры. Созданная им волшебная сказ

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27

Власова, Н. О. "Автобиографичность как фактор музыкальной композиции: об опере Рихарда Штрауса «Интермеццо". Научный вестник Московской консерватории 16, № 2(61) (2025): 254–73. https://doi.org/10.26176/mosconsv.2025.61.2.02.

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Для творчества Рихарда Штрауса очень типичны автобиографические коннотации. Особенность их состоит, во-первых, в том, что у композитора они связаны не с воплощением мировоззрения, философии, духовного мира творца — как это утвердилось в романтической эстетике, — а c подробностями реальной жизни частного лица. Во-вторых, сферой воплощения этой приватной сферы становятся не те жанры, с которыми традиционно связан исповедальный строй выражения (песня, камерная музыка), а жанры публичные — симфония («Домашняя симфония») и опера («Интермеццо»). В «Интермеццо» (1923) автобиографическая подоплека про

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28

Leigh, Matthew. "Ovid, Heroides 6.1–2." Classical Quarterly 47, no. 2 (1997): 605–7. http://dx.doi.org/10.1093/cq/47.2.605.

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It is a characteristic of Ovid's Heroides for each epistle implicitly to establish the dramatic time, context and motive for its composition by the particular heroine to whom it is attributed. In this way the poet is able to exploit the tension between the heroine's inevitably circumscribed awareness of the development of her story and the superior information which can be deployed by a reader acquainted with the mythical tradition or master-text which dictates what is actually going to follow: Penelope hands over a letter to a man whom the reader familiar with Homer can identify as Ulysses ev

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29

Sfyroera, Alexandra S. "Island on a Pendulum: Naxos Between Isolation and Connectivity." Mare Nostrum 12, no. 2 (2021): 51–77. http://dx.doi.org/10.11606/issn.2177-4218.v12i2p51-77.

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Naxos, the largest island of the Cyclades, in the center of the Archipelago, swayed over time between the two ends of the pendulum of insularity, namely between isolation and connectivity, in almost every aspect of human life (society, politics, economy, art, worship etc.). The article examines the position and importance of the island in the Archipelago but also its interaction with the neighboring mainland. It seeks the identity of its inhabitants and whether it differed from that of neighboring islands. It is a diachronic study based on the methods of Historical Archaeology, extending from

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30

Fróes da Motta Budant, Flavia. "Catulo 64: uma proposta de tradução poética." Belas Infiéis 9, no. 2 (2020): 119–23. http://dx.doi.org/10.26512/belasinfieis.v9.n2.2020.27246.

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Esta tradução tem como objetivo recriar a composição métrica de um excerto do Catulo 64, um epílio do poeta latino Caio Valério Catulo, com a aplicação das normas da métrica clássica da poesia em português, atribuindo valor e tonicidade Ã s sílabas e Ã s palavras. Esse poema em particular é um epitalâmio, uma canção escrita para ser lida em cerimônias nupciais, cujos personagens principais são Peleu e Tétis. O texto selecionado retrata o abandono de Ariadne por Teseu, recontado por êcfrase, uma narrativa presente em objetos inanimados ”“ neste caso, um manto bordado com os momentos de agonia e

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31

Kruglikov, S. T. "Ornament and Content: the Subject and Meaning of The Kiss by Gustav Klimt." Art & Culture Studies, no. 4 (December 2022): 140–65. http://dx.doi.org/10.51678/2226-0072-2022-4-140-165.

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The article examines the most famous work of the Austrian artist Gustav Klimt — The Kiss. It analyses the insufficiency of the existing, most common both in academic and popular culture interpretations of this painting as an abstract image of lovers, a kind of “yin and yang” or the struggle and unity of the male and female opposites. For the first time in Russian research, evidence of a specific plot of The Kiss is provided. Based on the artist’s career, then-contemporary literature, the context of the creation of the painting, and its figurative and symbolic content, the plot of the painting

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32

Rauscher, Susanne. "Sweet Transvestite: Hosenrollen in der Oper." Feministische Studien 22, no. 2 (2004). http://dx.doi.org/10.1515/fs-2004-0210.

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AbstractIn this essay the author describes the genesis, transformation and function of cross-dressing in the history of the opera. Whereas in baroque times the woman in trousers - together with the castrato - was meant to meet the audience’s need for high-pitched, angelic voices, the »real« breeches part in post-baroque operas followed also other theatrical purposes. These purposes are examined in three cases: Mozart’s Cherubino (from Le Nozze di Figaro) - the first breeches part that was designed exclusively for a female singer - and Richard Strauss’ »young and romantic men« Octavian (from Th

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33

Festeu, Adriana. "Richard Strauss’ Komponist: the journey of a role, from soprano to mezzo." Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts, January 10, 2024, 35–44. http://dx.doi.org/10.31926/but.pa.2023.16.65.2.4.

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This article examines the changes in the casting of the role of Komponist in Richard Strauss’ Ariadne auf Naxos. The article aims to establish the timeline of when this original soprano role became a staple of the mezzo-soprano category. The research involves an examination of the historical archives of international opera houses such as the Metropolitan Opera in New York, the Vienna State Opera, the Teatro alla Scala in Milan, and the Royal Opera House in London. The conclusion reveals that the shift in voice type took place gradually between the 1960s and 1970s. The conclusion also proposes

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34

Cossé, Peter. "„Ariadne auf Naxos“, „Figaro“, „Jenufa“, „Lady Macbeth“ bei den Salzburger Festspielen, Konzerte und Zeitfluss- Finale." Österreichische Musikzeitschrift 56, no. 10 (2001). http://dx.doi.org/10.7767/omz.2001.56.10.51.

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35

De Clercq, Stefanie. "Giorgio de Chirico’s fascinatie voor Ariadne als metafoor van de dionysische en artistieke scheppingskracht." Tetradio 11, no. 1 (2002). http://dx.doi.org/10.21825/tetradio.91969.

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In his pictural work, de Chirico (1888 -1978) displays a great fascination for Ariadne. How¬ ever, only a particular part of the traditional myth associated with Ariadne fascinates de Chirico, notably her lying asleep on the shore of Naxos, waiting for the coming of Dionysus. This Ariadne of Naxos is the incarnation of the very core of de Chirico’s artistic poetics, since she symbolizes for him the metaphysical essence that he tries to awake in his paintings. This essence is constituted by three major caracteristics. Influenced by the philosophy of Nietzsche and Schopenhauer, de Chirico concei

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36

Liana De Girolami Cheney. "Evelyn Pickering De Morgan’s Ariadne at Naxos: A Pagan Martyr." Journal of Literature and Art Studies 10, no. 4 (2020). http://dx.doi.org/10.17265/2159-5836/2020.04.011.

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37

Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each

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