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Thu. Sept. 13, 2018, 7:30 p.m. - 10 p.m. Vienna

Richard Strauss

Ariadne auf Naxos

Conductor: Patrick Lange, Director: Sven-Eric Bechtolf
With Peter Matić, Jochen Schmeckenbecher, Sophie Koch, Stephen Gould, Daniela Fally, Adrianne Pieczonka


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Programme booklet


  • Richard Strauss  |  Musik
  • Patrick Lange  |  Conductor
  • Sven-Eric Bechtolf  |  Director
  • Rolf Glittenberg  |  Bühne
  • Marianne Glittenberg  |  Costumes
  • Jürgen Hoffmann  |  Light Design

Patrick Lange | Conductor

Patrick Lange was born near Nuremberg in 1981 and is among the most promising talents of the young conductor´s generation. As Abado´s assistant he collaborated with the Berliner Philharmoniker, the Orchestra Mozart Bologna and the Lucerne Festival Orchestra. In 2009 he was on an England tour with the Glyndebourne Opera with Cosi fan tutte. In 2011 he conducted the Academy of St. MArtin in the Fields on a Germany tour. His career as concuctor began in Luzern (Falstaff, Don Giovanni). With Le nozze di Figaro he made his debut at the Komische Oper in 2007. Since 2008 he has been first Kapellmeister there, in 2010 he was appointed Chief Conductor of the house (until 2012). In 2010/2011 he opened with Meistersinger, later Rigoletto, Rusalka and Idomeneo followed. In 2011/2012 he for example conducted Freischütz, Der Rosenkavalier and Meistersinger at the Komische Oper Berlin, La traviata at the ROH Covent Garden. Upcoming engagements are Die Entführung aus dem Serail at the Bayerische Staatsoper, Die Entführung aus dem Serail in Zürich, Jenufa and Faust. In 2010 he made his debut at the Wiener Staatsoper with Madama Butterfly, where he has also conducted Don Giovanni, Così fan tutte, Die Zauberflöte für Kinder, Eugen Onegin and Die Fledermaus.​

Daniela Fally | Zerbinetta

Born in lower austria, soprano Daniela Fally completed her vocal training at the Wiener Musikuniversität after having previously completed theater studies, musical studies and private acting classes. Since the 2009/2010 season, she is an ensemble member of the Wiener Staatsoper, after having been an ensemble member at the Wiener Volksoper for four years. Guest engagements include among others, at the Salzburger Festspielen, the Bregenzer Festspielen, the Opern­festspielen Munich (Zerbinetta 2011 and 2013), at the Bayri­sche Staatsoper Munich (Adele, Zerbinetta), the Staatsoper Hamburg (Fiakermilli, Marie/Fille du régiment 2012 and 2013, Zerbinetta), the Semperoper Dresden (Blonde, Sophie/Rosenkavalier under Christian Thielemann 2012 and 2013), the Opera houses in Zurich (Adele), Düsseldorf (Adele), Liège (Zerbinetta), and Strassburg (Blonde, Sophie/Rosenkavalier), Cologne (Zerbinetta), at the Seefestspielen Mörbisch (Adele) and at the Lyric Opera in Chicago (Adele). At the Wiener Staatsoper, she has sung among others Sophie (Rosenkavalier and Werther), Rosina, Fiakermilli, Ade­le, Oscar, Zerbinetta, and italienische Sängerin (Capriccio).

Peter Matić | Der Haushofmeister

Peter Matić was born in Vienna in 1937. It was here that he finished his actor training and was employed from 1960 to 1968 at the Theater an der Josefstadt. Engagements in Basel and at the Munich Kammerspiele followed until he moved to the Schiller Theatre in Berlin, where he worked for 22 years. In 1993 he performed at the Burgtheater for the first time and since then, has played numerous roles, such as Hofrat Winkler in Professor Bernhardi, “A man” in the premiere of Die letzte Nacht im September, Mars in Orpheus in the Underworld, Men and Women in The Mountain Giants, King Peter in Leonce and Lena, First Gravedigger in Hamlet, Lysias in Die Tochter der Luft, Pandarus in Troilus and Cressida, General in Der Unbestechliche, Kardinal in Immanuel Kant, numerous roles in Der Narr und seine Frau heute Abend in Pancomedia, Uncle Gustav in Feuerwerk, Patriach von Jerusalem in Nathan der Weise, Mason/Phipps in The ideal Man. Peter Matic has played numerous roles at the Vienna Volksoper, namely Oberst Pickering in My Fair Lady. In 2001 he was awarded the Albin-Skoda-Ring. In 2006 he was made a Kammerschauspieler. He has played the role of “Steward” (Haushofmeister) at the Vienna State Opera.

Jochen Schmeckenbecher | Ein Musiklehrer

In 2011/2012 the German baritone made his successful role debuts as Kurwenal (Tristan und Isolde) at the Opera de Lyon, as Dr. Kolenaty (Sache Makropulos) at the Salzburger Festspiele and as Alberich (Siegfried und Gotterdämmerung) at the Oper Frankfurt, where he had already sung Amfortas (Parsifal) and Alberich (Das Rheingold) in 2010. Future plans include the debut at the Bayerische Staatsoper, Alberich in the Ring des Nibelungen in Frankfurt and with the RSB Berlin as well as projects at the Bastille in Paris, at the Liceu in Barcelona and the Gulbenkian in Lisbon, where he recently sang Orest (Elektra) and Creon (Medee). He regularly guests at international opera and concert stages, e.g. at the Staatsoper Berlin, the Semperoper Dresden, La Scala in Milan, the Teatro Regio Turin, the Wiener Volksoper, the Aalto Theater Essen as well as at the Ruhrtriennale. Also he sang in Dallas, Philadelphia and at the San Francisco Opera (Faninal in Rosenkavalier). As Wozzeck he for example guested at the Gran Teatro del Liceu Barcelona, at the Teatro Real in Madrid and at the Staatsoper Hamburg. As Musiklehrer (Ariadne auf Naxos) he made his debut at the Met in 2010 as well as at the Wiener Staatsoper in 2011.

Sophie Koch | Der Komponist

SOPHIE KOCH studied at the Conservatoire National Supérieur de Musique de Paris and won first prize in Holland's prestigious Hertogenbosch Competition. She celebrated her first major successes at the Royal Opera House Covent Garden in London (in Il barbiere di Siviglia and Così fan tutte) and at the Semperoper in Dresden (in Ariadne auf Naxos). Further performances soon took her to the Bavarian State Opera in Munich, Vienna, Berlin, Milan, Paris, Toulouse, Brussels, Madrid, Geneva, as well as to the Salzburg Festival. Her current roles include Marie (Dialogues des Carmélites) in Nice, The Composer (Ariadne auf Naxos), Waltraute (Twilight of the Gods) and Venus (Tannhäuser) in Paris, Charlotte (Werther) in Madrid and London, and the title role in Mignon in Geneva. Sophie Koch has also achieved international success with lieder and as a concert performer. She made her debut at the Wiener Staatsoper in 1999 as Octavian in Der Rosenkavalier. Her other roles in Vienna have included The Composer, Rosina (Il barbiere di Siviglia), Nicklausse (Les Contes d'Hoffmann), Dorabella (Così fan tutte), Zerlina (Don Giovanni), Cherubino (Le nozze di Figaro), Charlotte and Silla (Palestrina).



Stephen Gould | Der Tenor (Bacchus)

Stephen Gould was born in Virginia and studied at the New England Conservatory of Music. In recent years he has sung in the new productions of Der fliegende Holländer in Madrid, Munich, Vienna and New York, Siegfried and Götterdämmerung in Bayreuth, Tannhäuser in Tokyo, Paris and Geneva, Peter Grimes in Dresden and Geneva, Otello and Die Liebe der Danae in Dresden, Lohengrin in Trieste and Hamburg, Die tote Stadt in Berlin and London, Fidelio in Rome und Tokyo, Les Troyens, Fidelio and Otello in Florence as well as in many further productions and concerts in Dresden, Berlin, Munich, Vienna, Hamburg, Mannheim and Barcelona. In 2012/2011 he sang Gurre-Lieder in Montreux and Luzern, Tristan und Isolde in Tokyo and Dresden, Tannhäuser in Dresden, then Die Frau ohne Schatten in Salzburg, Götterdämmerung in Berlin, and in 2012 Tristan und Isolde in Berlin, Fidelio in Dallas, Götterdämmerung in Munich and Tannhäuse in Turin, to only name a few.

In 2004 he made his debut at the Wiener Staatsoper as Paul (Die tote Stadt) and has since then also sung Erik, Parsifal, Siegfried (Siegfried, Götterdämmerung), Tannhäuser and Bacchus here.


Adrianne Pieczonka | Die Primadonna (Ariadne)

The Canadian soprano singer ADRIANNE PIECZONKA was engaged at the Wiener Volksoper at the beginning of her career and then became member of the ensemble of the Wiener Staatsoper. There, her international career began, leading her to all the world´s great opera houses and music centres. She sang Donna Anna at the ROH Covent Garden in London, in Otello, Rosenkavalier and Tannhäuser at La Scala in Milan, in Pique Dame, Walküre and Simon Boccanegra at the Metropolitan Opera, Ariadne auf Naxos at the Münchner Opernfestspiele, at the Maggio Musical in Florence in Die Frau ohne Schatten. She performed Senta at the Paris Opera Bastille and sang her first Leonore at the Canadian Opera Toronto. She sang in Don Carlo and Rosenkavalier at the Salzburger Festspiele, and sang Sieglinde and Senta at the Bayreuther Festspiele. She made her debut as Chrysothemis in Aix en Provence. At the Wiener Staatsoper she has for example sung Contessa d’Almaviva, Antonia, Tatjana, Donna Anna and Donna Elvira, Senta, Marschallin, Elsa, Eva, Desdemona, Arabella and Ariadne. Adrianne Pieczonka is Austrian Kammersängerin, „Officer of the Order of Canada“ and since 2010 member of the Royal So­ciety of Canada.

Roles at the Wiener Staatsoper 2014/2015: Tosca, Elisabeth (Don Carlos Italian).

Prologue The servants of the wealthiest man in Vienna are busy preparing the stage for a planned performance in their master's palace. Two troupes have been engaged and are busily making preparations behind the scenes. One them is to play the opera Ariadne on Naxos, the first work by a young composer, whilst the other will perform a dance masquerade in the Italian buffo style. Petty jealousies between the members of both troupes already have emotions running high. The situation is exacerbated by an unexpected and incomprehensible change of programme communicated by the lord of the house through his major-domo: he now wishes the two pieces to be performed for his invited guests not one after the other, but at the same time. Deeply mortified, the composer wishes to withdraw his composition and forgo its first public performance, since the work represents an authentic implementation of his artistic worldview. However, he has a change of heart thanks to the practically minded music teacher, and Zerbinetta: well versed especially in the art of seduction, the latter inveigles the inexperienced young composer in no time at all. With a resounding hymn to the nature of music, the composer accepts reality and the instructions of his patron. The opera Ariadne on Naxos will therefore be performed in the desired manner, with interludes by an troupe of Italian comedians. Opera Outside a cave on the shores of the island of Naxos, Ariadne longs for death after being abandoned by Theseus, her rescuer and lover. Oblivious to everything going on around her, she takes no notice of the three nymphs, nor of the comedians trying to cheer her up, nor even of Zerbinetta. Drawing on her wealth of experience, Zerbinetta sings an audacious aria advising the grieving Ariadne not to shed a single tear for her departed lover, and to remain open for new love. A radiant youth is seen approaching in the distance: it is Bacchus, the god of the eternal regeneration. He comes from the arms of the sorceress Circe, where he was unable to find what he was looking for. Mistaking him for the messenger of death, Ariadne, goes out to meet him: without immediately noticing it, she falls ecstatically in love with him, an emotion which the god reciprocates. Transformed by one another as if reborn, Ariadne and Bacchus bring the opera to a close as a truly mystically united couple.