We kindly ask the audience to please read the COVID-19 informations about tickets and seats and how access the theater
We inform the audience that the last two performances of the opera "Ariadne auf Naxos" at the Teatro della Pergola, scheduled for 16 and 18 June at 20 and 18, are postponed to 27 and 29 June (BOTH AT 8 PM) and with the same cast expected at the premiere and with Jessica Pratt in the role of Zerbinetta. The necessary postponement of the two performances is due to the fact that the maestro Daniele Gatti tested positive at Covid. Il Maggio wishes its principal director a speedy remission.
Ariadne auf Naxos by Richard Strauss and Hugo von Hofmannsthall was born as an operatic divertissement for a performance of Molière's Le bourgeois gentilhomme. The initial project provided for the one-act opera to be performed as a show presented in the palace of the protagonist of the comedy; a perfect example of theater within the theater. In this first form the work began on 25 October 1912 in Stuttgart under the direction of Max Reinhardt. However, the opera was more liked than the comedy and Hugo von Hofmannsthal decided to untie the two parts by giving life to Ariadne, to which he added a Prologue that holds the trick of the theater in the theater and in which the preparations for the show are described.entertainment that a wealthy 18th century Viennese gentleman has decided to offer to his guests in his home. In the new form Ariadne auf Naxos debuted in Vienna on 4 October 1916. In this work Strauss and von Hofmannsthall face the myth of Arianna, which over the centuries had inspired many musicians from Monteverdi onwards, from an ironic and detached perspective, transferring the action in a hybrid dimension in which pathetic and comic elements coexist. The relationship that is established between the two narrative levels at stake - the reality of the Prologue and the artificial reality of the representation - creates a semantic short-circuit underlined by Strauss through the musical parody that feeds on heterogeneous stylistic features coming both from the serious work and from the funny. To make Ariadne's sonic appearance even more original, Strauss then resorted to an unusual orchestral ensemble that includes a baroque orchestra and foreign instruments such as the harp, harmonium, piano and percussion.
Thanks to Fondazione CR Firenze, the performance of 13/06/2022 is on sale with a 50% discount on tickets for each sector
New staging
We inform the audience that the last two performances of the opera "Ariadne auf Naxos" at the Teatro della Pergola, scheduled for 16 and 18 June at 20 and 18, are postponed to 27 and 29 June (BOTH AT 8 PM) and with the same cast expected at the premiere and with Jessica Pratt in the role of Zerbinetta. The necessary postponement of the two performances is due to the fact that the maestro Daniele Gatti tested positive at Covid. Il Maggio wishes its principal director a speedy remission.
Ariadne auf Naxos by Richard Strauss and Hugo von Hofmannsthall was born as an operatic divertissement for a performance of Molière's Le bourgeois gentilhomme. The initial project provided for the one-act opera to be performed as a show presented in the palace of the protagonist of the comedy; a perfect example of theater within the theater. In this first form the work began on 25 October 1912 in Stuttgart under the direction of Max Reinhardt. However, the opera was more liked than the comedy and Hugo von Hofmannsthal decided to untie the two parts by giving life to Ariadne, to which he added a Prologue that holds the trick of the theater in the theater and in which the preparations for the show are described.entertainment that a wealthy 18th century Viennese gentleman has decided to offer to his guests in his home. In the new form Ariadne auf Naxos debuted in Vienna on 4 October 1916. In this work Strauss and von Hofmannsthall face the myth of Arianna, which over the centuries had inspired many musicians from Monteverdi onwards, from an ironic and detached perspective, transferring the action in a hybrid dimension in which pathetic and comic elements coexist. The relationship that is established between the two narrative levels at stake - the reality of the Prologue and the artificial reality of the representation - creates a semantic short-circuit underlined by Strauss through the musical parody that feeds on heterogeneous stylistic features coming both from the serious work and from the funny. To make Ariadne's sonic appearance even more original, Strauss then resorted to an unusual orchestral ensemble that includes a baroque orchestra and foreign instruments such as the harp, harmonium, piano and percussion.
Thanks to Fondazione CR Firenze, the performance of 13/06/2022 is on sale with a 50% discount on tickets for each sector
New staging