Auswahl der wissenschaftlichen Literatur zum Thema „Ariadne auf Naxos (Strauss, Richard)“

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 ópera de Strauss.

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.

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 cooperation. The creation of the play «Ariadne on Naxos» was based on the principles, in many respects similar to the Nietzsche's concept of the relationship between music and word. It also made it possible to turn to mythological operas «Helena of Egypt». It is concluded, the work on the opera «Ariadne on Naxos» has become a long-awaited synthesis of opposing views on antiquity and the deep origins of ancient Greek art for its creators.

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. For Gregor, transformation is an inward movement, joining nature, and becoming divine in the German-Romantic sense of the term.

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 ‘inner’ and ‘outer’ opera house implies the withdrawal of the parallels between the music-dramatic and the architectural level. The concept of ‘opera within the opera’ is simultaneously present in the musical-dramatic sphere (opera Ariadne in opera Ariadne auf Naxos) and in the architectural sphere (opera/residential house in the opera house). By concurring with the different meaning of the word ‘opera’ which it has in the music-drama (opera as a musical-drama work) and architectural language (opera as an architectural object), we carry out the terms meta-opera ‘per square’ (‘metaopera’) and meta-opera ‘per cube’ (‘metaopera’).

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 сказка, изобилующая символами, аллегориями и театральными «чудесами» и вместе с тем заключающая в себе высокую этическую идею, наследует традициям барочного и классицистского театра. Сочиненной на этой основе опере Штрауса также свойствен обобщающий, суммирующий характер. По разнообразию и богатству выразительных средств эта масштабная партитура беспрецедентна для всего предшествующего творчества композитора. Она объединяет в себе как композиционные новации его экспрессионистских опер («Саломея», «Электра»), так и детализированность, камерность письма и новую трактовку голоса, найденные в «Ариадне на Наксосе». Одновременно «Женщина без тени» подводит итог развитию оперного театра начиная с Вагнера. С одной стороны, воздействие Вагнера (и, конкретно, его последней музыкальной драмы «Парсифаль») в штраусовской партитуре несомненно. С другой— «Женщина без тени» венчает развитие жанра «сказочной оперы», который переживал расцвет в немецкоязычных странах после Вагнера и считался плодотворной альтернативой оперной продукции многочисленных вагнеровских подражателей. Штраус и Гофмансталь поднимают «сказочную оперу», расцветшую на непритязательном фольклорном материале, до уровня высоких философско-этических обобщений и тем самым словно возвращают ее к метафизическим вагнеровским первоистокам. Таким образом «Женщина без тени», поставленная уже после Первой мировой войны, становится последней вершиной немецкой романтической оперы, объединяющей ее разнонаправленные тенденции. Building upon the correspondence between Richard Strauss and Hugo von Hofmannsthal, as well as other documentary sources, this paper discusses in detail the complicated and prolonged process of the creation of the opera “Die Frau ohne Schatten”, from the first drafts of the libretto in 1910 to the opera’s first staging in 1919. This opera, considered paramount by both authors, can be regarded as their collective “opus magnum”. Hofmannsthal devoted a lot of time and effort to the libretto, amalgamating numerous sources, literary motifs, quotations, references to various texts of the European culture. As a result, he created a fairy tale abounding with symbols, allegories and theatrical “miracles” and at the same time conveying a profound ethical message, which carries on the tradition of the Baroque and Classicism theatre. The opera composed by Strauss also has a universal, generalizing character. The diversity and exuberance of this grand work is unprecedented for the composer. It combines compositional novelties of his expressionist operas (“Salome”, “Elektra”) with the nuanced, intimate character of music and the innovative treatment of voice discovered in “Ariadne auf Naxos”. At the same time, “Die Frau ohne Schatten” summarizes the development of the opera theatre since Wagner. On the one hand, the influence of Wagner (and, in particular, of his last music drama “Parsifal”) is apparent in Strauss’s composition. On the other hand, “Die Frau ohne Schatten” culminates the development of the genre of Märchenoper, which flourished in German-speaking countries after Wagner and was considered a viable alternative to the opera works of Wagner's numerous imitators. Strauss and Hofmannsthal raise the Märchenoper, which evolved from unpretentious folklore tradition, to the level of philosophical and ethical generalization, as if restoring it to Wagner’s metaphysical origins. Thus, “Die Frau ohne Schatten”, staged in the aftermath of the World War I, becomes the last pinnacle of German Romantic opera, encapsulating the diverse patterns of this genre.

Self-referentiality plays an important, but often overlooked, role in the works of Richard Strauss. The broad category of self-reference includes works of metafiction, which literary critic Patricia Waugh has defined as fiction that “self-consciously and systematically draws attention to its status as an artifact in order to pose questions about the relationship between fiction and reality” and “explores the theory of writing fiction through the practice of writing fiction.”¹ Additionally, Werner Wolf has conceptualized self-reference to include not only “intra-systemic relationship(s),” but also intertextual and intermedial references.² The relationships and references included in Wolf’s conception of self-reference allow Strauss, his collaborators, and later interpreters to insert their own voices into operas and, arguably, even give themselves agency in the drama. This thesis examines this voice and agency in order to arrive at a deeper understanding of Strauss’s aesthetics and those of his librettists and later interpreters with particular attention to three operas: Ariadne auf Naxos (the 1912 and 1916 versions), Intermezzo (1924), and Capriccio (1942). Additionally, I examine Christof Loy’s 2011 production of Die Frau ohne Schatten (1919) as an example of complex layers self-reference added to a work by a later interpreter and as a suggestion for future avenues of research regarding operatic self-referentiality.

¹Patricia Waugh, Metafiction: The Theory and Practice of Self-Conscious Fiction (London: Methuen & Company, 1984), 2. ²Werner Wolf, preface to Self-Reference in Literature and Music, ed. Walter Bernhart and Werner Wolf (Amsterdam: Rudopi, 2010), vii.

博士
國立臺灣師範大學
音樂學系
106
According to the Strauss Werkverzeichnis (by Franz Trenner, 3rd edition, Munich, 1999), the TrV 228 includes four versions. The first two versions (TrV 228、TrV 228a) carry the title “Ariadne auf Naxos.” The former, consisting of the “opera” Ariadne auf Naxos and the Strauss’s “incidental music” for Hofmannsthal’s adaptation of the play Der Bürger als Edelmann, was premiered in Stuttgart on 25 October 1912. The later, which is performed more often nowadays, was premiered in Vienna on 4 October 1916. The third version (TrV 228b), premiered at Deutsches Theater Berlin on 9 April 1918, is Strauss’s incidental music for the play Der Bürger als Edelmann. The fourth version (TrV 228c), premiered in Vienna on 31 January 1920, is orchestral suite selected from the number for the play Der Bürger als Edelmann. This dissertation calls these four versions together as “works related to Ariadne auf Naxos.” Among the four works of Ariadne auf Naxos, the public is most familiar with the second and the fourth works, but it is not clear how the context works. In view of this, this dissertation puts the presentation of the genesis, the creative process and the textual analysis together to clearly show the meaning and their relationship of each musical-theatrical work. The first section of the chapter Two of the thesis presents the creation process and work structure of the 1912 version; the second section focuses on the detached comedy Der Bürger als Edelmann, namely the 1918 version; the third section is centered on the 1920 orchestral suite. Chapter Three disscusses the “opera” part of the 1912 version. Chapter Four focuses on the 1916 version and compares it with the 1912 one. As conclusion, the dissertation reveals the way how the composer and dramatists interacted with music and text, respectively, and how their creative thinking had transformed during the almost eight years of collaboration.