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CD 2 messenger of death. He stands before her, and she exclaims ‘Theseus’. Richard The (continued) 5 Bacchus addresses her as the goddess of the island, 1 When a woman thinks she belongs just to one man, but she has long awaited him. He calls her to join him STRAUSS the idea of another steals into her head, a common on his ship, and Ariadne understands this as a voyage to commedia dell’arte predicament. oblivion. 2 Harlequin likes the sermon, but it has fallen on deaf 6 Bacchus, though, is a god, sired by a god, not ready ears. He makes advances to Zerbinetta, trying to kiss to let her die in his arms. She recoils in fear at his voice, SCHW her. The others urge her to give up trying to console sinking down, as he holds her. Everything vanishes, and TH AR Ariadne. She flirts with the men, before disappearing a starry sky stretches above them. BE Z A K with Harlequin, while the others pretend to look for her. S O I P 7 Ariadne wonders whether their journey is over, L F 3 The Naiad, Dryad and Echo hurry in, announcing while Bacchus rejoices in his love that has transformed E the appearance of a handsome young god, Bacchus, her cave, while the nymphs, unseen, are heard. brought up by nymphs, after his mother’s death, Zerbinetta enters, indicating Bacchus and Ariadne, welcomed by Circe, whose wiles he has eluded. explaining how when the new god appears women give way at once. She runs off, leaving the lovers enraptured, 4 Ariadne emerges from the cave, as Bacchus appears glorying in their love. on a rock, celebrating his escape from Circe, but enchanted by Ariadne, who welcomes him as the Keith Anderson

1 g 954 Recordin

Elisabeth Schwarzkopf • Rita Streich Irmgard Seefried • Rudolf Schock

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that the guests may sleep through the opera, after their them. The composer declares his change of heart, as Great Opera Recordings dinner, and wake to enjoy the comedy. The music- idealistically as ever. Zerbinetta whistles to summon her master re-assures the composer; the opera will be the fellows onto the stage. The composer is again horrified Richard centre of attention. A footman announces the imminent and runs out in despair. arrival of the guests. STRAUSS The Opera 6 The major-domo enters with the sudden (1864-1949) announcement that the planned programme is to be ! There is an overture and the scene opens on the abandoned and that the harleqinade and the opera seria island of Naxos, where Ariadne lies prostrate in front of Ariadne auf Naxos are to be performed at the same time. This causes the mouth of a cave. general consternation. Moreover, everything must be Opera in one act with prologue finished before the fireworks at nine o’clock, the @ A Naiad and a Dryad stand by her, with Echo in the Libretto: Hugo von Hofmannstahl inappropriate desert island of Ariadne now suitably background. They ask if Ariadne sleeps, but no, she ornamented. He urges haste. weeps, always sorrowful. Prima Donna / Ariadne ...... () Zerbinetta ...... Rita Streich (soprano) 7 The music-master is at a loss, but is unwilling to # Ariadne laments her fate, observed by the The Composer ...... Irmgard Seefried (soprano) forfeit the promised fee, while the composer angrily is commedia dell’arte characters. The / Bacchus ...... Rudolf Schock (tenor) willing to walk out. The dancing-master tells him to The Major Domo ...... Alfred Neugebauer (speaker) make the necessary cuts, while he explains things to $ She continues her lament, recalling the handsome The Music Teacher ...... Karl Dönch () Zerbinetta, who, with her colleagues, is used to Theseus, in her madness, ready for death. An Officer ...... Gerhard Unger (tenor) improvising. The tenor tells the composer to cut out A Dancing Master ...... Hugues Cuénod (tenor) Ariadne, while the prima donna thinks that the part of % From the wings Zerbinetta suggests cheering her up A Wig Maker ...... Erich Strauss (baritone) Bacchus can be cut. The music-master re-assures them with a song, and Harlequin obliges, to Ariadne’s A Lackey ...... Otakar Kraus (baritone) both, while the dancing-master explains the plot of indifference. Naiad ...... Lisa Otto (soprano) Ariadne to Zerbinetta leading, the composer says, to her Dryad ...... Grace Hoffman (contralto) death, but Zerbinetta is sure that she finds another lover. ^ Ariadne continues, to herself, awaiting death and Echo ...... Anny Felbermayer (soprano) his messenger, Hermes. Harlequin ...... Hermann Prey (baritone) 8 She finds the composer a child in affairs of the Scaramuccio ...... Gerhard Unger (tenor) world. Zerbinetta and her friends will liven up the desert & Brighella and her companions sing and dance, to Truffaldino ...... Fritz Ollendorff () island. The composer continues his high-flown ideas of cheer Ariadne up. In the end Zerbinetta sends them Brighella ...... Helmut Krebs (tenor) Ariadne, brought down to earth by Zerbinetta’s away. common realism. Philharmonia Orchestra * Zerbinetta approaches Ariadne, arguing that her lot Herbert von Karajan, conductor 9 She charms the composer by her confession that, is shared by many women. Ariadne pays no attention while she may flirt on stage, she may in fact be sad in and withdraws into the cave, while Zerbinetta Recorded 30th June through 7th July, 1954 in Kingsway Hall, her heart. Zerbinetta breaks away and runs off. continues, with her message of a new lover. First issued as Columbia 33CX 1292 through 1294 0 The music-master bustles in, calling the casts onto Reissue Producer and Restoration Engineer: Mark Obert-Thorn the stage, to the annoyance of the prima donna, who Special thanks to Maynard F. Bertolet for providing source material refuses to appear with Zerbinetta. He tells her that her performance should make clear the difference between 8.111033-34 211 8.111033-34 111033-34 bk AriadneEU 1/12/06 10:36 AM Page 10

Synopsis singer he wants is not there, and is busy. The footman CD 1 78:11 The Opera 36:24 goes off, leaving the composer to knock at the door to CD 1 the right of the stage, as he still has a great deal to do The Prologue 41:47 ! Overture 3:48 with his singers. He turns to the door on the left, seeking (Orchestra) The Prologue his Bacchus. The door opens and the wig-maker totters 1 Overture 2:36 out, his ears boxed by the tenor, already dressed as (Orchestra) @ Schläft sie! 4:04 1 Overture. The curtain rises on a barely furnished, Bacchus, bald but carrying a wig. The wig-maker (Naiad, Dryad, Echo) badly lit room in the house of a rich parvenu. In the remonstrates with the tenor and is unable to help the 2 Mein Herr Haushofmeister! 4:04 background there are signs of the preparation of a composer by providing a scrap of manuscript paper for (Music Teacher, Major Domo, Lackey, Officer) # Ach! Wo war ich? 3:20 private theatre. There is a back-cloth, the reverse of a new idea the latter has just had. (Ariadne, Echo, Harlequin, Zerbinetta, Brighella, which can be seen. 3 Lieber Freund! Verschaffen Sie mir die Geigen Truffaldino) 4 The door to the right opens and Zerbinetta comes (Composer, Lackey, Tenor, Wig Maker) 3:46 2 The major-domo enters, in a hurry and colliding out, with the officer, telling him that it will not be easy $ Ein Schönes war, hieß Theseus – Ariadne 6:50 with the music-master. The latter expresses his anxieties to make the audience laugh after the boring opera. As 4 Erst nach der Oper kommen wir daran 4:36 (Ariadne, Naiad, Dryad, Echo, Harlequin, about the rumoured inclusion in that evening’s they move to the back of the stage the prima donna, her (Zerbinetta, Prima Donna, Music Teacher, Zerbinetta, Scaramuccio, Truffaldino) programme of an Italian comic performance after his Ariadne costume covered by a négligée, and the music- Composer, Dancing Master) pupil’s opera seria. He tells the major-domo that the master emerge from the door on the left. She assures % Ach, so versuchet doch ein kleines ! 2:23 composer of the opera will never allow it. The latter him that she must speak with the Count at once, and 5 Meine Partner! Meine erprobten Freunde! 3:35 (Zerbinetta, Harlequin) tells him firmly that there is no question of anyone but closes her door. The composer wants to see the prima (Zerbinetta, Composer, Music Teacher, his master allowing or ordering anything. The music- donna, but is stopped by the music-master, who tells Prima Donna, Dancing Master, Lackey) ^ Es gibt ein Reich, wo alles rein ist 6:41 master insists that the opera seria, Ariadne, was written him she has her hair-dresser with her. The dancing- (Ariadne) for this occasion. The major-domo replies that it has master joins Zerbinetta and the officer, and the 6 Ihnen allen habe ich eine plötzliche Anordnung been well rewarded: in any case his master alone will composer asks who she is, while the dancing-master is (Major Domo, Music Teacher, Prima Donna, 5:45 & Die Dame gibt mit trüben Sinn 5:33 decide what entertainment is to be offered to his guests heard assuring her that her task will be easy, as the Dancing Master, Tenor, Zerbinetta, Composer) (Brighella, Scaramuccio, Harlequin, Truffaldino, after their festive collation, and there will be fireworks opera is so boring. The composer finds Zerbinetta Zerbinetta) afterwards, to start at nine o’clock sharp. The opera charming, but is horrified when he hears what is 7 Ich weiß nicht, wo mir der Kopf steht 5:58 seria and the opera buffa are to be heard between the planned. He expresses his dismay at the intrusion of low (Music Teacher, Composer, Dancing Master, * Großmächtige Prinzessin, wer verstünde nicht two events. The music-master wonders how he can tell life, and, finding sudden inspiration, starts to jot down Prima Donna, Tenor, Zerbinetta) (Zerbinetta) 3:45 his pupil, the composer, about this. As they leave, a his new idea. footman enters, ushering in an officer, telling him that 8 Kindskopf! Merkt auf, wir spielen mit in dem Mademoiselle Zerbinetta is busy preparing herself. The 5 Out of Zerbinetta’s room come Harlequin, Stück Ariadne auf Naxos 2:47 officer pushes the footman aside and enters the room on Scaramuccio, Brighella and Truffaldino and she asks (Zerbinetta, Composer) the right. them for her mirror and make-up, which they run to fetch. The composer, meanwhile, accuses the music- 9 Ein Augenblick is wenig – ein Blick ist viel 4:16 3 The composer now comes forward, asking the master of complicity and tears up his music-paper; the (Zerbinetta, Composer) footman to find the violins for him for a short rehearsal. others watch Zerbinetta applying her make-up. The In answer to the footman’s impudent feigned prima donna emerges from the door on the left, asking if 0 An Ihre Plätze, meine Damen und Herrn! 4:24 misunderstanding, he explains that by ‘violins’ he the Count has been summoned. She looks askance at (Music Teacher, Prima Donna, Composer, means the players. The footman tells him they are Zerbinetta and her friends. Zerbinetta responds by Zerbinetta) where he should be, at table, playing for his master. He loudly declaring the opera boring and claiming that they suggests rehearsing with Ariadne, but is told that the should have appeared first. 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CD 2 68:06 Appendix: concentrated on both opera and the concert hall, where stage début in Jonny spielt auf in Paris, and in 1929 he he was a much admired Evangelist in the Bach Passions sang for the first time in the United States in Noel The Opera (continued) 50:24 R. STRAUSS: Capriccio as well as contributing to the performance of early Coward’s Bitter Sweet. From 1930 to 1933 Cuénod was (Libretto: ) music. He also sang in Covent Garden, the Hamburg, active in Geneva, and then in Paris from 1934 to 1937 1 Noch glaub’ ich dem einen ganz mich gehörend Munich and State as well as at as a member of Nadia Boulanger’s vocal group. From (Zerbinetta) 7:34 The Closing Scene: 17:42 Glyndebourne. As recently as May 2002 Helmut Krebs 1940 to 1946 he taught at the Geneva Conservatory but 8 Morgen mittag um elf! 6:27 sang his own Oboen-Lieder, Op. 47. In 1966 he became resumed his operatic career, singing in 2 Hübsch gepredigt! Aber tauber Ohren! 7:52 a professor at the Musikhochschule in . in Geneva in 1943. He subsequently appeared at (Harlequin, Zerbinetta, Brighella, Scaramuccio, 9 Ihre Liebe schlägt mir entgegen 6:49 The American mezzo-soprano Grace Hoffman ’s (1951), Glyndebourne (from 1954 for Truffaldino) was born in Cleveland, Ohio, in 1925 and was educated many seasons), and London’s Covent Garden (1954, 0 Du Spiegelbild der verliebten Madeleine 4:26 at Western Reserve University in Cleveland. Then she 1956, 1958). In 1987 he made his first appearance at the 3 Ein schönes Wunder! 3:42 studied voice with in New York and , singing The Emperor in Puccini’s (Dryad, Naiad, Echo) Elisabeth Schwarzkopf, soprano in Milan. After appearances in the United Turandot at the age of 85. As an interpreter Cuénod has Philharmonia Orchestra • Otto Ackermann States, she sang in Florence and Zürich. In 1955 she sung virtually everything, from Machaut to Stravinsky. 4 Circe, Circe, kannst du mich hören? 8:30 Recorded 25th and 26th September, 1953 became a member of the Württemberg State Theatre in Noted as an outstanding sight-reader, he has always (Bacchus, Ariadne, Naiad, Dryad, Echo) in Watford Town Hall . In March 1958 she made her Metropolitan displayed a flair for the unusual, with a recorded legacy First issued on Columbia 33CX 1107 Opera début in New York as Brangäne in Tristan und of remarkable range from French mélodie through Bach 5 Du schönes Wesen! 7:54 Isolde. She made many appearances at La Scala in to medieval and Elizabethan song. (Bacchus, Ariadne) Milan, Covent Garden in London, Bayreuth, and the . She was noted for her Capriccio was Strauss’s last stage work, which he 6 Bin ich ein Gott, schuf mich ein Gott 5:42 performances of the music of Wagner and Verdi, described as a Konversationstück für Musik, (Bacchus, Ariadne) particularly for her rôles of Brangäne, Kundry, and collaborating with the conductor Clemens Krauss on the Eboli. She also sang widely in concerts. In 1978 she libretto. The work is in essence an opera about an opera. 7 Gibt es kein Hinüber? 9:11 became professor of voice at the Hochschule für Musik The widowed Countess Madeleine cannot choose (Ariadne, Bacchus, Naiad, Dryad, Echo, in Stuttgart. between the poet Olivier and the composer Flamand. In Zerbinetta) The Swiss tenor Hugues Cuénod was born in the glowing and heart-warming final scene we find the Corseaux-sur-Vevey in June 1902. He studied at the Countess finally deciding on neither: as she remarks, ‘If Ribaupierre Institute in Lausanne, and later at the you choose one, you lose the other’. conservatories in Geneva and Basel, and in Vienna. His career began as a concert singer but in 1928 he made his Malcolm Walker

Producer’s Note

The transfer of the complete opera was made from the best portions of two British LP pressings. The original master tape contains some electronic clicks, low frequency thumps and other defects which can also be heard on EMI’s own CD edition. The appendix was transferred from an American LP pressing.

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production of Le nozze di Figaro at Salzburg. He was also sang Tamino, Alfredo and Pinkerton. He became a (1864 – 1949) also one of the founders of a Schubert Festival in member of the Stuttgart State Opera in 1961 and of the Ariadne auf Naxos . Prey died in Munich in November 1998. from 1962 to 1973. Unger also Karl Dönch (1915-1994) spent virtually all his appeared at the Vienna and Dresden State Operas. He In 1942 Richard Strauss, then approaching his eightieth used for Hofmansthal’s adaptation of the Molière career as a member of the Staatsoper in Vienna, appeared in Bayreuth as David in Die Meistersinger birthday, recalled that the original intention behind original in a production in in April 1918. Later graduating from the chorus for small rôles, which (1951-1952). He also performed regularly at the Ariadne auf Naxos was as a grateful offering to the Strauss made a nine-movement concert suite Der included Bartolo in Il barbiere di Siviglia, Melitone in between 1962 and 1978. At Milan’s theatre director Max Reinhardt (1873-1943). It was to Bürger als Edelmann, which was first heard in Vienna La forza del destino, Faninal in and La Scala Unger sang Jaquino in 1960 and Mime in form an epilogue to a comedy by Molière, Le bourgeois in January 1920 under the composer’s direction. Beckmesser in Die Meistersinger. He first sang at the 1975. He made guest appearances at the Paris Opéra, at gentilhomme. The original concept had been a half-hour Following the première of Salome in Dresden in Salzburg Festival in 1951 and later appeared in Berlin the Théâtre de la Monnaie in Brussels (1962), at the long opera for a small chamber orchestra. This was later December 1905, Strauss, now having reached early and Buenos Aires. Marseilles Opera (1955) and in Turin (1970). He sang expanded to the play, which Hofmannsthal had reduced middle age, became increasingly an operatic soprano’s The Czech-born but later naturalised British Mime at the Stuttgart State Theatre in 1987. He was a from five acts to two, followed by a ballet concluding composer. From this date on the operas become baritone Otakar Kraus (1909-1980) was born in much admired artist with an engaging stage personality. with a commedia dell’arte. The resulting première took dominated by a female character, so that the composer , and studied with Konrad Wallerstein before The soprano Lisa Otto was born in Dresden in place at the Kleines Haus of the Hoftheater in Stuttgart displays the psychology, feelings and failings like a moving to Fernando Carpi in Milan, making his début 1919. Educated at that city’s Hochschule für Musik, she on 25th October 1912 under the composer. The husband who is fully inside his wife’s many-sided as Amonasro in in 1935. He was a member of the made her operatic début as Sophie in 1941 at the reception was decidedly mixed, with the audience mind. In Ariadne the three principal female rôles of The Opera from 1936 to 1939 but with the Landestheater in Beuthen. During the years 1945-1946 obviously unhappy with the excess of spoken dialogue Composer (a travesti rôle), Ariadne and Zerbinetta are outbreak of the Second World War Kraus eventually she sang with the Opera but returned to her in the Molière play to which Strauss had added three such examples in a single work. came to Britain, later joining the touring Carl Rosa native city from 1946 to 1951 where she was a member incidental music, and with only a single act of total The revised score of Part One is a series of brief Company in 1940. As a member of the newly formed of the Dresden State Opera. In 1952 she joined the music. The performance of this version was both costly scenes involving the opera seria singers and the in 1946, he created Tarquinius in Berlin Städtische Oper. From 1953 she also sang in and ineffective in that a double cast of actors and commedia dell’arte characters, the Composer and Britten’s at Glyndebourne, later Salzburg, and made tours of the United States, South singers was involved. members of the household of the nobleman who has taking the rôle of the Vicar in , and America, and Japan. She was made a Kammersängerin In July 1916 composer and librettist decided to commissioned the new opera seria. Part Two contains Lockit in Britten’s realisation of The Beggar’s Opera. in 1963. She became best known for her rôles in recast Ariadne by prefacing the revised version with a Ariadne’s first Monologue in which she recalls her love He joined Netherlands Opera for the 1950-51 season in Mozart’s operas. Prologue of some forty minutes which explained the for Theseus (Ein Schönes war), followed by the addition to creating the rôle of Nick Shadow in The Austrian lyric soprano Anny Felbermayer circumstances in which an eighteenth-century opera Harlequin’s Lieben, Hassen, Hoffen, Zagen. Ariadne, in Stravinsky’s The Rake’s Progress in Venice later that was born in Vienna in 1924. She had studied in her seria came to be performed simultaneously with its her second Monologue, meditates on the kingdom of year. This was followed by 22 years as a member of the native city at the Akademie für Musik and later won the comic interlude. They also omitted the spoken play death which she longs to enter (Es gibt ein Reich), , Covent Garden. He sang Alberich Cebotari prize and competitions in Geneva and altogether, and removed the character of Monsieur contrasted by a vocal quartet from the comedians (Die in The Ring at Bayreuth between 1960 and 1962. Whilst Verviers. She joined the Vienna State Opera in 1951, Jourdain, transfering the setting from Paris to Vienna. Dame gibt mit trüben Sinn). Then follows Zerbinetta’s not endowed with the greatest of voices, Kraus was a continuing there for many years. In addition to The resulting work is an opera of considerable long and extremely difficult coloratura recitative, aria superb singing actor who was greatly admired for his appearances at La Scala, Milan and Brussels, she was a sophisticated lyrical charm, Strauss continuing to write and rondo finale (Großmächtige Prinzessin), and make-up skills. He retired in 1973 to teach. regular performer at the Salzburg Festival during the in his Mozartian manner that he had first used so eventually the opera ends with the long extended love The German tenor Gerhard Unger (b. 1916) hails 1950s and 1960s. She possessed an attractive, well- successfully in Der Rosenkavalier in 1911. duet between Ariadne and Bacchus (Du schönes Wesen from Bad Salzungen but studied at the College of Music trained voice and displayed an excellent stage presence. Furthermore, in the Prologue the composer displays … Bin ich ein Gott), concluding with their ascent into in Berlin. His début was delayed by the war until 1945 The German tenor Helmut Krebs was born in some of his idea about music and drama that would the sky together. when he began as a recitalist and oratorio singer, but in in 1913 but moved to and later come to culmination in Capriccio in 1942. This recording of Ariadne auf Naxos was the first to 1947 he sang at the National Theatre, , where he Berlin. His début was as Monostatos in Die Zauberflöte This version was first heard in the Court Theatre in be made in the studio (an earlier one, made live in remained as a member for five years. In 1952 he was at the Berlin Volksoper in 1937. His career was Vienna on 4th October 1916 under Franz Schalk (1863- Vienna in June 1944, commemorated the composer’s engaged by the . He was soon interrupted by military service and it was not until 1945 1931) and is the form in which the opera is now almost eightieth birthday). This studio one, made in London appreciated as an interpreter of tenor-buffo parts but that he began again in Düsseldorf. His career invariably performed. The original incidental music was only five years after Strauss’s death in 1949, is 8.111033-34 8 5 8.111033-34 111033-34 bk AriadneEU 1/12/06 10:36 AM Page 6

significant in that most of the artists had been active La Scala in Milan and appeared in Japan. He left a large Bayreuth début was as Walther von Stolzing in 1959, a in Vienna, where she remained a member until her during the composer’s later years and some had even number of filmed recordings of his . As an rôle he had earlier recorded with . His retirement from the stage in 1972. Streich made met Strauss in the last ten years of his life. Thus it has a interpreter, he is thought to have made more recordings later career was most successful in operetta, television frequent guest appearances at Munich, however, and in particular historic feel. Masterminded by EMI recording than any other classical musician during his career. and film. He recorded prolifically over a period of 1954 sang Zerlina and Susanna in London, and at the producer and impresario (1906-1979) it The rôle of Ariadne is sung by the German soprano almost thirty years, including , Erik in Der Salzburg Festival appeared as Ännchen in Der contained some of the finest singers of the day and used Elisabeth Schwarzkopf (b. 1915). She studied at the fliegende Holländer, and Max in Der Freischütz, in Freischütz. She made her American début in 1957 at Legge’s own orchestra, the Philharmonia. The Berlin Hochschule für Musik and later with the soprano addition to operettas by Johann Strauss and Lehár, San Francisco and appeared in 1960 at the Chicago Gramophone magazine, when first reviewing the Maria Ivogün, making her début as one of the Lieder and popular song. He was generally considered Lyric Opera. These were her last American opera recording in October 1955, thought “the opera is Flowermaidens in Parsifal with the Städtische Oper, the successor to . appearances. Her voice was a small instrument for all perfectly cast, magnificently performed, and very well Berlin, in 1938. Originally a lyrical soprano she The soprano Irmgard Seefried (1919-1988) was its purity and technical control, better suited to a small recorded”. The orchestra was praised for its brilliance, undertook rôles such as Adele in Die Fledermaus, born in Köngetried, near Mindelheim, in . Her theatre such as Glyndebourne, where she appeared for while the singers were also judiciously commented Musetta in La Bohème and Zerbinetta in Ariadne auf first music lessons were from her father and at the age the first time in 1958 as Zerbinetta. During the 1950s upon. “Schwarzkopf brings the dark tone that is needed Naxos when she joined the Vienna State Opera under of eleven, three years after her first public appearance, Streich became well-known on record as Zerbinetta, for Ariadne’s sorrows, and all the rapture called for at Karl Böhm in 1943. Her first overseas appearance was she sang Gretel in Humperdinck’s opera. Later she Sophie, Susanna, Ännchen, Adele in Die Fledermaus, the end”. As the Composer Irmgard Seefried was with this company on their visit to London in 1947 studied at the Conservatory. She was and Blonde, in addition to recordings of songs by thought to display great variety of tone, the Zerbinetta when she sang Donna Elvira, and Marzelline in . engaged by Karajan at the Aachen Stadttheater as the Mozart, Schubert, Wolf, Richard Strauss, even of Rita Streich displayed no technical difficulties She then joined the fledgling Covent Garden Company, Priestess in in 1940. In 1943 she made her début at Milhaud. Streich retired from the stage in 1972 to teach whatsoever, and the Bacchus of Rudolf Schock sang where for five seasons she sang a variety of rôles, the Vienna State Opera as Eva in Die Meistersinger at Essen, but returned four years later to Vienna, where “with heroic tone and sufficient nuance to make one mostly in English. Alongside these appearances, under Karl Böhm, and remained a member of the she continued to teach, dying there at the age of 66. She believe in the youthful god”. Of Karajan “his genius has Schwarzkopf sang at the Salzburg Festival (1946-1964), company. She sang the Composer in Ariadne auf Naxos was the foremost German coloratura of her generation. never been more apparent in the [Bacchus-Ariadne] La Scala, Milan (1948-1963), San Francisco (1955- in a performance to mark Richard Strauss’s eightieth In the rôle of Harlequin is the Berlin-born baritone scene”. 1964) and, finally, the Metropolitan in New York in birthday in June 1944. She later appeared at Covent Hermann Prey (1929–1998). He studied at the The Austrian-born conductor Herbert von 1964. She was greatly admired in the rôles of the Garden Opera in London in 1947 with the visiting Hochschule für Musik in Berlin and in 1952 he was a Karajan (1908-1989) studied first in Salzburg and then Marschallin, Fiordiligi, the Countess in Le nozze di Vienna company, and also in Milan (La Scala, 1949), prizewinner of Hessischer Rundfunk in Frankfurt. Later in Vienna under Franz Schalk. He made his début in Figaro and Donna Elvira. She also had a distinguished Salzburg (1946 onwards), and Edinburgh. She made that year he made his début as the Second Prisoner in Ulm in 1929 and remained there for five years, moving parallel career as a Lieder singer in the concert hall. She her Metropolitan Opera début in November 1953 as Fidelio in Wiesbaden, soon followed by Monuccio in to Aachen between 1935-37. A much-praised Berlin was the wife of the impresario and recording producer Susanna in Le nozze di Figaro. Later she appeared in d’Albert’s Tiefland. Prey soon joined the Hamburg début conducting led to his Walter Legge, whom she married in 1953. Chicago (1961 and 1964) and Aix-en-Provence (1963). State Opera (1953-1960) and in 1957 sang in Vienna, international career. Banned from conducting in public The rôle of Bacchus is sung by German tenor She was married to the violinist Wolfgang followed two years later by appearances in Munich. from 1945 to 1947, he made his first London Rudolf Schock (1915-1986). He was born in Schneiderhan, and died in Vienna in November 1988. Between 1960 and 1970 in six seasons Prey appeared at appearance in 1948 and became a regular visitor for the and studied singing in and . His stage Born of a Russian mother and a German prisoner- the Metropolitan in New York, making his début as next decade, appearing increasingly with the début was at Brunswick in 1937 but his singing career of-war father, the lyric soprano Rita Streich (1920- Wolfram. In 1965 he first sang at Bayreuth, again as Philharmonia Orchestra. Karajan was appointed was interrupted by five years of military service. In 1987) studied with Maria Ivogün, and Wolfram, returning as a perceptive Beckmesser in conductor of the Orchestra in 1955 1946 the Staatsoper in both Berlin and Hamburg Willi Domgraf-Fassbänder. She made her début in 1981. In 1973 Prey sang Rossini’s Barbiere at Covent and continued until his death. He also appeared during engaged him, and he remained with the latter until 1956. 1943 at Aussig as Zerbinetta. In 1946 she became a Garden and subsequently reappeared as Guglielmo, the same period both in Vienna and at the Salzburg His Salzburg Festival début was in 1948, followed by member of the Berlin Staatsoper where her rôles Papageno and Eisenstein. Although he had sung Verdi Festival in July and August in addition to the Salzburg two seasons at Covent Garden (1949-50), where his included Blonde in Die Entführung and Olympia in Les parts in his early years, he later concentrated on Mozart Easter Festival that he inaugurated in 1967, so that his rôles included Rodolfo (La Bohème), Alfredo (La contes d’Hoffmann. In the ensuing six years she also and Strauss, singing Olivier (Hamburg 1957), prestige and influence were enormous. He became the traviata), Tamino, Pinkerton, and The Olympians sang Zerlina, Gilda, and Sophie in Der Rosenkavalier. Harlequin (Munich 1960), and Robert Storch (Munich most significant conductor during the second half of the (Bliss). In 1951 he joined the Vienna State Opera and In 1952-53 she appeared as the Woodbird in Siegfried 1960). In 1997 he returned to the Salzburg Festival as twentieth century. In addition Karajan also conducted at the following year sang at the Edinburgh Festival. His at the , before joining the Staatsoper Der Sprecher in Die Zauberflöte. In 1988, he directed a 8.111033-34 6 7 8.111033-34 111033-34 bk AriadneEU 1/12/06 10:36 AM Page 6

significant in that most of the artists had been active La Scala in Milan and appeared in Japan. He left a large Bayreuth début was as Walther von Stolzing in 1959, a in Vienna, where she remained a member until her during the composer’s later years and some had even number of filmed recordings of his conducting. As an rôle he had earlier recorded with Rudolf Kempe. His retirement from the stage in 1972. Streich made met Strauss in the last ten years of his life. Thus it has a interpreter, he is thought to have made more recordings later career was most successful in operetta, television frequent guest appearances at Munich, however, and in particular historic feel. Masterminded by EMI recording than any other classical musician during his career. and film. He recorded prolifically over a period of 1954 sang Zerlina and Susanna in London, and at the producer and impresario Walter Legge (1906-1979) it The rôle of Ariadne is sung by the German soprano almost thirty years, including Lohengrin, Erik in Der Salzburg Festival appeared as Ännchen in Der contained some of the finest singers of the day and used Elisabeth Schwarzkopf (b. 1915). She studied at the fliegende Holländer, and Max in Der Freischütz, in Freischütz. She made her American début in 1957 at Legge’s own orchestra, the Philharmonia. The Berlin Hochschule für Musik and later with the soprano addition to operettas by Johann Strauss and Lehár, San Francisco and appeared in 1960 at the Chicago Gramophone magazine, when first reviewing the Maria Ivogün, making her début as one of the Lieder and popular song. He was generally considered Lyric Opera. These were her last American opera recording in October 1955, thought “the opera is Flowermaidens in Parsifal with the Städtische Oper, the successor to Richard Tauber. appearances. Her voice was a small instrument for all perfectly cast, magnificently performed, and very well Berlin, in 1938. Originally a lyrical soprano she The soprano Irmgard Seefried (1919-1988) was its purity and technical control, better suited to a small recorded”. The orchestra was praised for its brilliance, undertook rôles such as Adele in Die Fledermaus, born in Köngetried, near Mindelheim, in Bavaria. Her theatre such as Glyndebourne, where she appeared for while the singers were also judiciously commented Musetta in La Bohème and Zerbinetta in Ariadne auf first music lessons were from her father and at the age the first time in 1958 as Zerbinetta. During the 1950s upon. “Schwarzkopf brings the dark tone that is needed Naxos when she joined the Vienna State Opera under of eleven, three years after her first public appearance, Streich became well-known on record as Zerbinetta, for Ariadne’s sorrows, and all the rapture called for at Karl Böhm in 1943. Her first overseas appearance was she sang Gretel in Humperdinck’s opera. Later she Sophie, Susanna, Ännchen, Adele in Die Fledermaus, the end”. As the Composer Irmgard Seefried was with this company on their visit to London in 1947 studied at the Augsburg Conservatory. She was and Blonde, in addition to recordings of songs by thought to display great variety of tone, the Zerbinetta when she sang Donna Elvira, and Marzelline in Fidelio. engaged by Karajan at the Aachen Stadttheater as the Mozart, Schubert, Wolf, Richard Strauss, even of Rita Streich displayed no technical difficulties She then joined the fledgling Covent Garden Company, Priestess in Aida in 1940. In 1943 she made her début at Milhaud. Streich retired from the stage in 1972 to teach whatsoever, and the Bacchus of Rudolf Schock sang where for five seasons she sang a variety of rôles, the Vienna State Opera as Eva in Die Meistersinger at Essen, but returned four years later to Vienna, where “with heroic tone and sufficient nuance to make one mostly in English. Alongside these appearances, under Karl Böhm, and remained a member of the she continued to teach, dying there at the age of 66. She believe in the youthful god”. Of Karajan “his genius has Schwarzkopf sang at the Salzburg Festival (1946-1964), company. She sang the Composer in Ariadne auf Naxos was the foremost German coloratura of her generation. never been more apparent in the [Bacchus-Ariadne] La Scala, Milan (1948-1963), San Francisco (1955- in a performance to mark Richard Strauss’s eightieth In the rôle of Harlequin is the Berlin-born baritone scene”. 1964) and, finally, the Metropolitan in New York in birthday in June 1944. She later appeared at Covent Hermann Prey (1929–1998). He studied at the The Austrian-born conductor Herbert von 1964. She was greatly admired in the rôles of the Garden Opera in London in 1947 with the visiting Hochschule für Musik in Berlin and in 1952 he was a Karajan (1908-1989) studied first in Salzburg and then Marschallin, Fiordiligi, the Countess in Le nozze di Vienna company, and also in Milan (La Scala, 1949), prizewinner of Hessischer Rundfunk in Frankfurt. Later in Vienna under Franz Schalk. He made his début in Figaro and Donna Elvira. She also had a distinguished Salzburg (1946 onwards), and Edinburgh. She made that year he made his début as the Second Prisoner in Ulm in 1929 and remained there for five years, moving parallel career as a Lieder singer in the concert hall. She her Metropolitan Opera début in November 1953 as Fidelio in Wiesbaden, soon followed by Monuccio in to Aachen between 1935-37. A much-praised Berlin was the wife of the impresario and recording producer Susanna in Le nozze di Figaro. Later she appeared in d’Albert’s Tiefland. Prey soon joined the Hamburg début conducting Tristan und Isolde led to his Walter Legge, whom she married in 1953. Chicago (1961 and 1964) and Aix-en-Provence (1963). State Opera (1953-1960) and in 1957 sang in Vienna, international career. Banned from conducting in public The rôle of Bacchus is sung by German tenor She was married to the violinist Wolfgang followed two years later by appearances in Munich. from 1945 to 1947, he made his first London Rudolf Schock (1915-1986). He was born in Duisburg Schneiderhan, and died in Vienna in November 1988. Between 1960 and 1970 in six seasons Prey appeared at appearance in 1948 and became a regular visitor for the and studied singing in Cologne and Hanover. His stage Born of a Russian mother and a German prisoner- the Metropolitan in New York, making his début as next decade, appearing increasingly with the début was at Brunswick in 1937 but his singing career of-war father, the lyric soprano Rita Streich (1920- Wolfram. In 1965 he first sang at Bayreuth, again as Philharmonia Orchestra. Karajan was appointed was interrupted by five years of military service. In 1987) studied with Maria Ivogün, Erna Berger and Wolfram, returning as a perceptive Beckmesser in conductor of the Berlin Philharmonic Orchestra in 1955 1946 the Staatsoper in both Berlin and Hamburg Willi Domgraf-Fassbänder. She made her début in 1981. In 1973 Prey sang Rossini’s Barbiere at Covent and continued until his death. He also appeared during engaged him, and he remained with the latter until 1956. 1943 at Aussig as Zerbinetta. In 1946 she became a Garden and subsequently reappeared as Guglielmo, the same period both in Vienna and at the Salzburg His Salzburg Festival début was in 1948, followed by member of the Berlin Staatsoper where her rôles Papageno and Eisenstein. Although he had sung Verdi Festival in July and August in addition to the Salzburg two seasons at Covent Garden (1949-50), where his included Blonde in Die Entführung and Olympia in Les parts in his early years, he later concentrated on Mozart Easter Festival that he inaugurated in 1967, so that his rôles included Rodolfo (La Bohème), Alfredo (La contes d’Hoffmann. In the ensuing six years she also and Strauss, singing Olivier (Hamburg 1957), prestige and influence were enormous. He became the traviata), Tamino, Pinkerton, and The Olympians sang Zerlina, Gilda, and Sophie in Der Rosenkavalier. Harlequin (Munich 1960), and Robert Storch (Munich most significant conductor during the second half of the (Bliss). In 1951 he joined the Vienna State Opera and In 1952-53 she appeared as the Woodbird in Siegfried 1960). In 1997 he returned to the Salzburg Festival as twentieth century. In addition Karajan also conducted at the following year sang at the Edinburgh Festival. His at the Bayreuth Festival, before joining the Staatsoper Der Sprecher in Die Zauberflöte. In 1988, he directed a 8.111033-34 6 7 8.111033-34 111033-34 bk AriadneEU 1/12/06 10:36 AM Page 8

production of Le nozze di Figaro at Salzburg. He was also sang Tamino, Alfredo and Pinkerton. He became a Richard Strauss (1864 – 1949) also one of the founders of a Schubert Festival in member of the Stuttgart State Opera in 1961 and of the Ariadne auf Naxos Austria. Prey died in Munich in November 1998. Hamburg State Opera from 1962 to 1973. Unger also Karl Dönch (1915-1994) spent virtually all his appeared at the Vienna and Dresden State Operas. He In 1942 Richard Strauss, then approaching his eightieth used for Hofmansthal’s adaptation of the Molière career as a member of the Staatsoper in Vienna, appeared in Bayreuth as David in Die Meistersinger birthday, recalled that the original intention behind original in a production in Berlin in April 1918. Later graduating from the chorus for small rôles, which (1951-1952). He also performed regularly at the Ariadne auf Naxos was as a grateful offering to the Strauss made a nine-movement concert suite Der included Bartolo in Il barbiere di Siviglia, Melitone in Salzburg Festival between 1962 and 1978. At Milan’s theatre director Max Reinhardt (1873-1943). It was to Bürger als Edelmann, which was first heard in Vienna La forza del destino, Faninal in Der Rosenkavalier and La Scala Unger sang Jaquino in 1960 and Mime in form an epilogue to a comedy by Molière, Le bourgeois in January 1920 under the composer’s direction. Beckmesser in Die Meistersinger. He first sang at the 1975. He made guest appearances at the Paris Opéra, at gentilhomme. The original concept had been a half-hour Following the première of Salome in Dresden in Salzburg Festival in 1951 and later appeared in Berlin the Théâtre de la Monnaie in Brussels (1962), at the long opera for a small chamber orchestra. This was later December 1905, Strauss, now having reached early and Buenos Aires. Marseilles Opera (1955) and in Turin (1970). He sang expanded to the play, which Hofmannsthal had reduced middle age, became increasingly an operatic soprano’s The Czech-born but later naturalised British Mime at the Stuttgart State Theatre in 1987. He was a from five acts to two, followed by a ballet concluding composer. From this date on the operas become baritone Otakar Kraus (1909-1980) was born in much admired artist with an engaging stage personality. with a commedia dell’arte. The resulting première took dominated by a female character, so that the composer Prague, and studied with Konrad Wallerstein before The soprano Lisa Otto was born in Dresden in place at the Kleines Haus of the Hoftheater in Stuttgart displays the psychology, feelings and failings like a moving to Fernando Carpi in Milan, making his début 1919. Educated at that city’s Hochschule für Musik, she on 25th October 1912 under the composer. The husband who is fully inside his wife’s many-sided as Amonasro in Brno in 1935. He was a member of the made her operatic début as Sophie in 1941 at the reception was decidedly mixed, with the audience mind. In Ariadne the three principal female rôles of The Bratislava Opera from 1936 to 1939 but with the Landestheater in Beuthen. During the years 1945-1946 obviously unhappy with the excess of spoken dialogue Composer (a travesti rôle), Ariadne and Zerbinetta are outbreak of the Second World War Kraus eventually she sang with the Nuremberg Opera but returned to her in the Molière play to which Strauss had added three such examples in a single work. came to Britain, later joining the touring Carl Rosa native city from 1946 to 1951 where she was a member incidental music, and with only a single act of total The revised score of Part One is a series of brief Company in 1940. As a member of the newly formed of the Dresden State Opera. In 1952 she joined the music. The performance of this version was both costly scenes involving the opera seria singers and the English Opera Group in 1946, he created Tarquinius in Berlin Städtische Oper. From 1953 she also sang in and ineffective in that a double cast of actors and commedia dell’arte characters, the Composer and Britten’s The Rape of Lucretia at Glyndebourne, later Salzburg, and made tours of the United States, South singers was involved. members of the household of the nobleman who has taking the rôle of the Vicar in Albert Herring, and America, and Japan. She was made a Kammersängerin In July 1916 composer and librettist decided to commissioned the new opera seria. Part Two contains Lockit in Britten’s realisation of The Beggar’s Opera. in 1963. She became best known for her rôles in recast Ariadne by prefacing the revised version with a Ariadne’s first Monologue in which she recalls her love He joined Netherlands Opera for the 1950-51 season in Mozart’s operas. Prologue of some forty minutes which explained the for Theseus (Ein Schönes war), followed by the addition to creating the rôle of Nick Shadow in The Austrian lyric soprano Anny Felbermayer circumstances in which an eighteenth-century opera Harlequin’s Lieben, Hassen, Hoffen, Zagen. Ariadne, in Stravinsky’s The Rake’s Progress in Venice later that was born in Vienna in 1924. She had studied in her seria came to be performed simultaneously with its her second Monologue, meditates on the kingdom of year. This was followed by 22 years as a member of the native city at the Akademie für Musik and later won the comic interlude. They also omitted the spoken play death which she longs to enter (Es gibt ein Reich), Royal Opera House, Covent Garden. He sang Alberich Cebotari prize and competitions in Geneva and altogether, and removed the character of Monsieur contrasted by a vocal quartet from the comedians (Die in The Ring at Bayreuth between 1960 and 1962. Whilst Verviers. She joined the Vienna State Opera in 1951, Jourdain, transfering the setting from Paris to Vienna. Dame gibt mit trüben Sinn). Then follows Zerbinetta’s not endowed with the greatest of voices, Kraus was a continuing there for many years. In addition to The resulting work is an opera of considerable long and extremely difficult coloratura recitative, aria superb singing actor who was greatly admired for his appearances at La Scala, Milan and Brussels, she was a sophisticated lyrical charm, Strauss continuing to write and rondo finale (Großmächtige Prinzessin), and make-up skills. He retired in 1973 to teach. regular performer at the Salzburg Festival during the in his Mozartian manner that he had first used so eventually the opera ends with the long extended love The German tenor Gerhard Unger (b. 1916) hails 1950s and 1960s. She possessed an attractive, well- successfully in Der Rosenkavalier in 1911. duet between Ariadne and Bacchus (Du schönes Wesen from Bad Salzungen but studied at the College of Music trained voice and displayed an excellent stage presence. Furthermore, in the Prologue the composer displays … Bin ich ein Gott), concluding with their ascent into in Berlin. His début was delayed by the war until 1945 The German tenor Helmut Krebs was born in some of his idea about music and drama that would the sky together. when he began as a recitalist and oratorio singer, but in Aachen in 1913 but moved to Dortmund and later come to culmination in Capriccio in 1942. This recording of Ariadne auf Naxos was the first to 1947 he sang at the National Theatre, Weimar, where he Berlin. His début was as Monostatos in Die Zauberflöte This version was first heard in the Court Theatre in be made in the studio (an earlier one, made live in remained as a member for five years. In 1952 he was at the Berlin Volksoper in 1937. His career was Vienna on 4th October 1916 under Franz Schalk (1863- Vienna in June 1944, commemorated the composer’s engaged by the Berlin State Opera. He was soon interrupted by military service and it was not until 1945 1931) and is the form in which the opera is now almost eightieth birthday). This studio one, made in London appreciated as an interpreter of tenor-buffo parts but that he began again in Düsseldorf. His career invariably performed. The original incidental music was only five years after Strauss’s death in 1949, is 8.111033-34 8 5 8.111033-34 111033-34 bk AriadneEU 1/12/06 10:36 AM Page 4

CD 2 68:06 Appendix: concentrated on both opera and the concert hall, where stage début in Jonny spielt auf in Paris, and in 1929 he he was a much admired Evangelist in the Bach Passions sang for the first time in the United States in Noel The Opera (continued) 50:24 R. STRAUSS: Capriccio as well as contributing to the performance of early Coward’s Bitter Sweet. From 1930 to 1933 Cuénod was (Libretto: Clemens Krauss) music. He also sang in Covent Garden, the Hamburg, active in Geneva, and then in Paris from 1934 to 1937 1 Noch glaub’ ich dem einen ganz mich gehörend Munich and Vienna State Operas as well as at as a member of Nadia Boulanger’s vocal group. From (Zerbinetta) 7:34 The Closing Scene: 17:42 Glyndebourne. As recently as May 2002 Helmut Krebs 1940 to 1946 he taught at the Geneva Conservatory but 8 Morgen mittag um elf! 6:27 sang his own Oboen-Lieder, Op. 47. In 1966 he became resumed his operatic career, singing in Die Fledermaus 2 Hübsch gepredigt! Aber tauber Ohren! 7:52 a professor at the Musikhochschule in Frankfurt. in Geneva in 1943. He subsequently appeared at (Harlequin, Zerbinetta, Brighella, Scaramuccio, 9 Ihre Liebe schlägt mir entgegen 6:49 The American mezzo-soprano Grace Hoffman Milan’s La Scala (1951), Glyndebourne (from 1954 for Truffaldino) was born in Cleveland, Ohio, in 1925 and was educated many seasons), and London’s Covent Garden (1954, 0 Du Spiegelbild der verliebten Madeleine 4:26 at Western Reserve University in Cleveland. Then she 1956, 1958). In 1987 he made his first appearance at the 3 Ein schönes Wunder! 3:42 studied voice with Friedrich Schorr in New York and Metropolitan Opera, singing The Emperor in Puccini’s (Dryad, Naiad, Echo) Elisabeth Schwarzkopf, soprano Mario Basiola in Milan. After appearances in the United Turandot at the age of 85. As an interpreter Cuénod has Philharmonia Orchestra • Otto Ackermann States, she sang in Florence and Zürich. In 1955 she sung virtually everything, from Machaut to Stravinsky. 4 Circe, Circe, kannst du mich hören? 8:30 Recorded 25th and 26th September, 1953 became a member of the Württemberg State Theatre in Noted as an outstanding sight-reader, he has always (Bacchus, Ariadne, Naiad, Dryad, Echo) in Watford Town Hall Stuttgart. In March 1958 she made her Metropolitan displayed a flair for the unusual, with a recorded legacy First issued on Columbia 33CX 1107 Opera début in New York as Brangäne in Tristan und of remarkable range from French mélodie through Bach 5 Du schönes Wesen! 7:54 Isolde. She made many appearances at La Scala in to medieval and Elizabethan song. (Bacchus, Ariadne) Milan, Covent Garden in London, Bayreuth, and the Vienna State Opera. She was noted for her Capriccio was Strauss’s last stage work, which he 6 Bin ich ein Gott, schuf mich ein Gott 5:42 performances of the music of Wagner and Verdi, described as a Konversationstück für Musik, (Bacchus, Ariadne) particularly for her rôles of Brangäne, Kundry, and collaborating with the conductor Clemens Krauss on the Eboli. She also sang widely in concerts. In 1978 she libretto. The work is in essence an opera about an opera. 7 Gibt es kein Hinüber? 9:11 became professor of voice at the Hochschule für Musik The widowed Countess Madeleine cannot choose (Ariadne, Bacchus, Naiad, Dryad, Echo, in Stuttgart. between the poet Olivier and the composer Flamand. In Zerbinetta) The Swiss tenor Hugues Cuénod was born in the glowing and heart-warming final scene we find the Corseaux-sur-Vevey in June 1902. He studied at the Countess finally deciding on neither: as she remarks, ‘If Ribaupierre Institute in Lausanne, and later at the you choose one, you lose the other’. conservatories in Geneva and Basel, and in Vienna. His career began as a concert singer but in 1928 he made his Malcolm Walker

Producer’s Note

The transfer of the complete opera was made from the best portions of two British LP pressings. The original master tape contains some electronic clicks, low frequency thumps and other defects which can also be heard on EMI’s own CD edition. The appendix was transferred from an American LP pressing.

Mark Obert-Thorn 8.111033-34 4 9 8.111033-34 111033-34 bk AriadneEU 1/12/06 10:36 AM Page 10

Synopsis singer he wants is not there, and is busy. The footman CD 1 78:11 The Opera 36:24 goes off, leaving the composer to knock at the door to CD 1 the right of the stage, as he still has a great deal to do The Prologue 41:47 ! Overture 3:48 with his singers. He turns to the door on the left, seeking (Orchestra) The Prologue his Bacchus. The door opens and the wig-maker totters 1 Overture 2:36 out, his ears boxed by the tenor, already dressed as (Orchestra) @ Schläft sie! 4:04 1 Overture. The curtain rises on a barely furnished, Bacchus, bald but carrying a wig. The wig-maker (Naiad, Dryad, Echo) badly lit room in the house of a rich parvenu. In the remonstrates with the tenor and is unable to help the 2 Mein Herr Haushofmeister! 4:04 background there are signs of the preparation of a composer by providing a scrap of manuscript paper for (Music Teacher, Major Domo, Lackey, Officer) # Ach! Wo war ich? 3:20 private theatre. There is a back-cloth, the reverse of a new idea the latter has just had. (Ariadne, Echo, Harlequin, Zerbinetta, Brighella, which can be seen. 3 Lieber Freund! Verschaffen Sie mir die Geigen Truffaldino) 4 The door to the right opens and Zerbinetta comes (Composer, Lackey, Tenor, Wig Maker) 3:46 2 The major-domo enters, in a hurry and colliding out, with the officer, telling him that it will not be easy $ Ein Schönes war, hieß Theseus – Ariadne 6:50 with the music-master. The latter expresses his anxieties to make the audience laugh after the boring opera. As 4 Erst nach der Oper kommen wir daran 4:36 (Ariadne, Naiad, Dryad, Echo, Harlequin, about the rumoured inclusion in that evening’s they move to the back of the stage the prima donna, her (Zerbinetta, Prima Donna, Music Teacher, Zerbinetta, Scaramuccio, Truffaldino) programme of an Italian comic performance after his Ariadne costume covered by a négligée, and the music- Composer, Dancing Master) pupil’s opera seria. He tells the major-domo that the master emerge from the door on the left. She assures % Ach, so versuchet doch ein kleines Lied! 2:23 composer of the opera will never allow it. The latter him that she must speak with the Count at once, and 5 Meine Partner! Meine erprobten Freunde! 3:35 (Zerbinetta, Harlequin) tells him firmly that there is no question of anyone but closes her door. The composer wants to see the prima (Zerbinetta, Composer, Music Teacher, his master allowing or ordering anything. The music- donna, but is stopped by the music-master, who tells Prima Donna, Dancing Master, Lackey) ^ Es gibt ein Reich, wo alles rein ist 6:41 master insists that the opera seria, Ariadne, was written him she has her hair-dresser with her. The dancing- (Ariadne) for this occasion. The major-domo replies that it has master joins Zerbinetta and the officer, and the 6 Ihnen allen habe ich eine plötzliche Anordnung been well rewarded: in any case his master alone will composer asks who she is, while the dancing-master is (Major Domo, Music Teacher, Prima Donna, 5:45 & Die Dame gibt mit trüben Sinn 5:33 decide what entertainment is to be offered to his guests heard assuring her that her task will be easy, as the Dancing Master, Tenor, Zerbinetta, Composer) (Brighella, Scaramuccio, Harlequin, Truffaldino, after their festive collation, and there will be fireworks opera is so boring. The composer finds Zerbinetta Zerbinetta) afterwards, to start at nine o’clock sharp. The opera charming, but is horrified when he hears what is 7 Ich weiß nicht, wo mir der Kopf steht 5:58 seria and the opera buffa are to be heard between the planned. He expresses his dismay at the intrusion of low (Music Teacher, Composer, Dancing Master, * Großmächtige Prinzessin, wer verstünde nicht two events. The music-master wonders how he can tell life, and, finding sudden inspiration, starts to jot down Prima Donna, Tenor, Zerbinetta) (Zerbinetta) 3:45 his pupil, the composer, about this. As they leave, a his new idea. footman enters, ushering in an officer, telling him that 8 Kindskopf! Merkt auf, wir spielen mit in dem Mademoiselle Zerbinetta is busy preparing herself. The 5 Out of Zerbinetta’s room come Harlequin, Stück Ariadne auf Naxos 2:47 officer pushes the footman aside and enters the room on Scaramuccio, Brighella and Truffaldino and she asks (Zerbinetta, Composer) the right. them for her mirror and make-up, which they run to fetch. The composer, meanwhile, accuses the music- 9 Ein Augenblick is wenig – ein Blick ist viel 4:16 3 The composer now comes forward, asking the master of complicity and tears up his music-paper; the (Zerbinetta, Composer) footman to find the violins for him for a short rehearsal. others watch Zerbinetta applying her make-up. The In answer to the footman’s impudent feigned prima donna emerges from the door on the left, asking if 0 An Ihre Plätze, meine Damen und Herrn! 4:24 misunderstanding, he explains that by ‘violins’ he the Count has been summoned. She looks askance at (Music Teacher, Prima Donna, Composer, means the players. The footman tells him they are Zerbinetta and her friends. Zerbinetta responds by Zerbinetta) where he should be, at table, playing for his master. He loudly declaring the opera boring and claiming that they suggests rehearsing with Ariadne, but is told that the should have appeared first. The dancing-master tells her 8.111033-34 10 3 8.111033-34 111033-34 bk AriadneEU 1/12/06 10:36 AM Page 2

that the guests may sleep through the opera, after their them. The composer declares his change of heart, as Great Opera Recordings dinner, and wake to enjoy the comedy. The music- idealistically as ever. Zerbinetta whistles to summon her master re-assures the composer; the opera will be the fellows onto the stage. The composer is again horrified Richard centre of attention. A footman announces the imminent and runs out in despair. arrival of the guests. STRAUSS The Opera 6 The major-domo enters with the sudden (1864-1949) announcement that the planned programme is to be ! There is an overture and the scene opens on the abandoned and that the harleqinade and the opera seria island of Naxos, where Ariadne lies prostrate in front of Ariadne auf Naxos are to be performed at the same time. This causes the mouth of a cave. general consternation. Moreover, everything must be Opera in one act with prologue finished before the fireworks at nine o’clock, the @ A Naiad and a Dryad stand by her, with Echo in the Libretto: Hugo von Hofmannstahl inappropriate desert island of Ariadne now suitably background. They ask if Ariadne sleeps, but no, she ornamented. He urges haste. weeps, always sorrowful. Prima Donna / Ariadne ...... Elisabeth Schwarzkopf (soprano) Zerbinetta ...... Rita Streich (soprano) 7 The music-master is at a loss, but is unwilling to # Ariadne laments her fate, observed by the The Composer ...... Irmgard Seefried (soprano) forfeit the promised fee, while the composer angrily is commedia dell’arte characters. The Tenor / Bacchus ...... Rudolf Schock (tenor) willing to walk out. The dancing-master tells him to The Major Domo ...... Alfred Neugebauer (speaker) make the necessary cuts, while he explains things to $ She continues her lament, recalling the handsome The Music Teacher ...... Karl Dönch (baritone) Zerbinetta, who, with her colleagues, is used to Theseus, in her madness, ready for death. An Officer ...... Gerhard Unger (tenor) improvising. The tenor tells the composer to cut out A Dancing Master ...... Hugues Cuénod (tenor) Ariadne, while the prima donna thinks that the part of % From the wings Zerbinetta suggests cheering her up A Wig Maker ...... Erich Strauss (baritone) Bacchus can be cut. The music-master re-assures them with a song, and Harlequin obliges, to Ariadne’s A Lackey ...... Otakar Kraus (baritone) both, while the dancing-master explains the plot of indifference. Naiad ...... Lisa Otto (soprano) Ariadne to Zerbinetta leading, the composer says, to her Dryad ...... Grace Hoffman (contralto) death, but Zerbinetta is sure that she finds another lover. ^ Ariadne continues, to herself, awaiting death and Echo ...... Anny Felbermayer (soprano) his messenger, Hermes. Harlequin ...... Hermann Prey (baritone) 8 She finds the composer a child in affairs of the Scaramuccio ...... Gerhard Unger (tenor) world. Zerbinetta and her friends will liven up the desert & Brighella and her companions sing and dance, to Truffaldino ...... Fritz Ollendorff (bass) island. The composer continues his high-flown ideas of cheer Ariadne up. In the end Zerbinetta sends them Brighella ...... Helmut Krebs (tenor) Ariadne, brought down to earth by Zerbinetta’s away. common realism. Philharmonia Orchestra * Zerbinetta approaches Ariadne, arguing that her lot Herbert von Karajan, conductor 9 She charms the composer by her confession that, is shared by many women. Ariadne pays no attention while she may flirt on stage, she may in fact be sad in and withdraws into the cave, while Zerbinetta Recorded 30th June through 7th July, 1954 in Kingsway Hall, London her heart. Zerbinetta breaks away and runs off. continues, with her message of a new lover. First issued as Columbia 33CX 1292 through 1294 0 The music-master bustles in, calling the casts onto Reissue Producer and Restoration Engineer: Mark Obert-Thorn the stage, to the annoyance of the prima donna, who Special thanks to Maynard F. Bertolet for providing source material refuses to appear with Zerbinetta. He tells her that her performance should make clear the difference between 8.111033-34 211 8.111033-34 111033-34 bk AriadneEU 1/12/06 10:36 AM Page 12

CD 2 messenger of death. He stands before her, and she exclaims ‘Theseus’. Richard The Opera (continued) 5 Bacchus addresses her as the goddess of the island, 1 When a woman thinks she belongs just to one man, but she has long awaited him. He calls her to join him STRAUSS the idea of another steals into her head, a common on his ship, and Ariadne understands this as a voyage to commedia dell’arte predicament. oblivion. Ariadne auf Naxos 2 Harlequin likes the sermon, but it has fallen on deaf 6 Bacchus, though, is a god, sired by a god, not ready ears. He makes advances to Zerbinetta, trying to kiss to let her die in his arms. She recoils in fear at his voice, SCHW her. The others urge her to give up trying to console sinking down, as he holds her. Everything vanishes, and TH AR Ariadne. She flirts with the men, before disappearing a starry sky stretches above them. BE Z A K with Harlequin, while the others pretend to look for her. S O I P 7 Ariadne wonders whether their journey is over, L F 3 The Naiad, Dryad and Echo hurry in, announcing while Bacchus rejoices in his love that has transformed E the appearance of a handsome young god, Bacchus, her cave, while the nymphs, unseen, are heard. brought up by nymphs, after his mother’s death, Zerbinetta enters, indicating Bacchus and Ariadne, welcomed by Circe, whose wiles he has eluded. explaining how when the new god appears women give way at once. She runs off, leaving the lovers enraptured, 4 Ariadne emerges from the cave, as Bacchus appears glorying in their love. on a rock, celebrating his escape from Circe, but enchanted by Ariadne, who welcomes him as the Keith Anderson

1 g 954 Recordin

Elisabeth Schwarzkopf • Rita Streich Irmgard Seefried • Rudolf Schock Philharmonia Orchestra Herbert von Karajan

8.111033-34 12 NAXOS Historical R. STRAUSS: Ariadne auf Naxos 8.111033-34 The Time Ariadne auf 2:26:17 Playing thought “the opera… , in the the first to be made This classic recording of recording This classic Naxos studio, of the many features not only but is of the day finest singers most of significant in that historically during the artists had been active later years. Strauss’s Richard The of October 1955 issue Gramophone cast,perfectly performed, magnificently Schwarzkopf recorded… and very well is needed brings the dark tone that sorrows,Ariadne’s for and all the at the end”. called for rapture Of wrote:Karajan the reviewer “his apparent”. been more genius has never The Opera (continued)Appendix: Capriccio Closing Scene from Elisabeth Schwarzkopf by performed 17:42 50:24 7 0 - - CD 21 8 68:06 Richard (1864 – 1949) (1864 STRAUSS Ariadne auf Naxos Ariadne in Kingsway Hall,in Kingsway London Recorded 30th June - 7th July 1954 July - 7th 30th June Recorded ADD Philharmonia Orchestra • Herbert von Karajan • Herbert von Philharmonia Orchestra The PrologueThe Opera 41:47 36:24 8.111033-34 0 * Prima Donna / Ariadne / Prima Donna ...... Elisabeth Schwarzkopf Zerbinetta...... Rita Streich The Composer...... Seefried Irmgard / BacchusTenor The ...... Rudolf Schock The Major Domo ...... Neugebauer Alfred Teacher...... The Music Karl Dönch An Officer ...... Unger Gerhard A Dancing Master...... Cuénod Hugues Wig MakerA ...... Strauss Erich A Lackey ...... Otakar Kraus Naiad...... Lisa Otto Dryad ...... Grace Hoffman Echo...... Felbermayer Anny Reissue Producer and Restoration Engineer:Reissue Producer Mark Obert-Thorn F. material source Special thanks to Maynard Bertolet providing for photo:Cover Collection) Potter Elisabeth SchwarzkopfTully (The www.naxos.com - - CD 11 ! 78:11

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NAXOS Historical R. STRAUSS: Ariadne auf Naxos 8.111033-34