Richard Strauss’ Ariadne auf Naxos mixes two art forms in one performance – commedia dell’arte and high opera.
A rich patron has employed both an opera company and a group of comedians to provide the after dinner entertainment for his guests. To fit in with the fireworks planned to end the evening, the two performances must be merged. The high-minded young composer is horrified by what this means for his tragic opera and is reluctant to make any cuts. The leading comedienne, Zerbinetta, further provokes the composer with her light-hearted take on Ariadne’s tragic dilemma (she just needs a new man!), but brings him around with some flirtatious encouragement. Their artistic differences are forgotten and he regains his confidence in the sacred power of music. He then realises, however, that his opera has been reduced to a hybrid entertainment.
The opera itself begins with Ariadne lamenting her fate – she has been abandoned by Theseus on Naxos, despite having saved him from the Minotaur. Neither the classical nymphs nor the upstart comedians can raise her spirits and she yearns for death to end her sorrow. Zerbinetta tries to convince her – woman to woman - that love comes and goes, but a new lover will always turn up. Ariadne is unimpressed with this philosophy; Zerbinetta goes off with a new love, Harlequin.
The god Bacchus arrives. Ariadne thinks he portends her death, but he is smitten by her beauty and he takes her with him to start a new life. Zerbinetta has the last word – Bacchus has proven her point