Relevant bibliographies by topics / Ariadne auf Naxos= Ariadne on Naxos

Academic literature on the topic 'Ariadne auf Naxos= Ariadne on Naxos'

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Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "Ariadne auf Naxos= Ariadne on Naxos"

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Araújo, Alberto Filipe, and José Augusto Lopes Ribeiro. "Ariadna en Naxos sobre el signo de la metamorfosis. Una contribución mitocrítica y educacional." DEDiCA Revista de Educação e Humanidades (dreh), no. 7 (March 1, 2015): 85–110. http://dx.doi.org/10.30827/dreh.v0i7.6940.

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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.
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Grant, J. "Ariadne auf Naxos (1916 version)." Opera Quarterly 15, no. 3 (January 1, 1999): 605–7. http://dx.doi.org/10.1093/oq/15.3.605.

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Hamilton, David. "Ariadne auf Naxos. Richard Strauss." Opera Quarterly 5, no. 4 (1987): 112–17. http://dx.doi.org/10.1093/oq/5.4.112.

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Baxter, R. "Ariadne auf Naxos. Richard Strauss." Opera Quarterly 22, no. 1 (December 13, 2006): 179–81. http://dx.doi.org/10.1093/oq/kbi082.

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Lücker, Arno. "ZAUBERSCHÖN!" Opernwelt 64, no. 4 (2023): 52. http://dx.doi.org/10.5771/0030-3690-2023-4-052.

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Marcos Hierro, Ernest. "Metamorfosi i divinització a l'"Ariadne aux Naxos" d'Hugo von Hofmannsthal i Richard Strauss." Anuari de Filologia. Antiqua et Mediaeualia 2, no. 9 (March 5, 2020): 143–52. http://dx.doi.org/10.1344/afam2019.9.2.14.

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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.
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May, T. "Ariadne auf Naxos: Revised version (1916)." Opera Quarterly 15, no. 3 (January 1, 1999): 520–30. http://dx.doi.org/10.1093/oq/15.3.520.

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Aleksić, Milica. "Ariadne's Weaving in the Musical-Visual Field." Kwartalnik Młodych Muzykologów UJ, no. 50 (3) (June 2022): 5–41. http://dx.doi.org/10.4467/23537094kmmuj.21.005.16099.

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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’).
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Sharypina, Tatiana A., and Polina D. Kazakova. "Creative Search by Richard Strauss and Hugo von Hofmannsthal in the Opera “Ariadne on Naxos”: to the Problem of Music and Words Interaction." Studia Litterarum 8, no. 1 (2023): 64–81. http://dx.doi.org/10.22455/2500-4247-2023-8-1-64-81.

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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.
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GILLIAM, BRYAN. "Ariadne, Daphne and the problem of Verwandlung." Cambridge Opera Journal 15, no. 1 (March 2003): 67–81. http://dx.doi.org/10.1017/s0954586703000673.

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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.
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Dissertations / Theses on the topic "Ariadne auf Naxos= Ariadne on Naxos"

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Easterling, Douglas. "Authorial Voice and Agency in the Operas of Richard Strauss| A Study of Self-Referentiality." Thesis, University of Cincinnati, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1561131.

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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.

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Chen, Yi-Wen, and 陳怡文. "Ariadne Transformed: The Strauss-Hofmannsthal Collaboration on the "Ariadne auf Naxos"-Workgroup." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/66nkd3.

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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.
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WADSTROM, SARAH MORIAN. "ANGELICA KAUFFMAN'S "ARIADNE ABANDONED BY THESEUS ON NAXOS"." Thesis, 1987. http://hdl.handle.net/1911/13260.

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Ariadne Abandoned by Theseus on Naxos was painted by the Swiss-born artist Angelica Kauffman in 1774, while she was living in England. Her work was an important factor in the development of the early Neoclassical style in England, and this painting embodies the ideas of noble simplicity and sedate grandeur put forth by her friend Johann Winckelmann as appropriate for such history paintings. One of her few single-figure, non-portrait history paintings, it is typical of the careful composition and rich Venetian coloring for which she was well-known. Angelica was a well-educated woman, and therefore she was able to draw on a wide variety of literary and visual sources when she chose the subject. The theme of abandoned and mourning women was often used by artists in the late eighteenth century, and Angelica may have had a particular identification with it, due to her unusual position as an artist and a single woman.
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Books on the topic "Ariadne auf Naxos= Ariadne on Naxos"

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Pucher, Georges. Ariane à Naxos, R. Strauss. Paris: Éditions Premières Loges, 2014.

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Köhn, Silke. Ariadne auf Naxos: Rezeption und Motivgeschichte von der Antike bis 1600. München: Utz, 1999.

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Richard, Strauss. Ariadne auf Naxos: Oper in einem Aufzuge nebst einem Vorspiel. Amsterdam: Nederlandse Opera, 1988.

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Nickel, Lothar R. Was bleibt, was bleibt von Ariadne?: Hugo von Hofmannsthals "Ariadne auf Naxos" : Anspruch und Widerspruch. Idstein: Schulz-Kirchner, 1993.

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Benda. ARIADNE AUF NAXOS. Music-Garland, 1986.

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Richard, Strauss. Ariadne auf Naxos. EMI, 1988.

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Richard, Strauss. Ariadne auf Naxos. Phillips, 1988.

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Schmidt, Leopold. Richard Strauss: Ariadne Auf Naxos. Creative Media Partners, LLC, 2022.

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Richard Strauss: Ariadne Auf Naxos. Wentworth Press, 2019.

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Richard, Strauss. Ariadne auf Naxos in Full Score. Dover Publications, 1993.

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Book chapters on the topic "Ariadne auf Naxos= Ariadne on Naxos"

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Hiebler, Heinz. "»Ariadne auf Naxos« (1912/1916)." In Hofmannsthal-Handbuch, 251–54. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05407-4_95.

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Meyer, Michael. "»Ariadne auf Naxos« durch die Brille Wiens." In Moderne als Geschichtsvergewisserung, 199–209. Kassel, Germany: Bärenreiter-Verlag, 2022. http://dx.doi.org/10.1007/978-3-7618-7250-5_8.

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Morabito, Sergio. "Lücken im Welt-Theater-Bau oder Ariadne auf Naxos." In Opernarbeit, 79–90. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04909-4_10.

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Gilliam, Bryan. "Der Rosenkavalier — Ariadne auf Naxos — Die Frau ohne Schatten." In Richard Strauss Handbuch, 183–213. Stuttgart: J.B. Metzler, 2014. http://dx.doi.org/10.1007/978-3-476-00510-6_14.

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SCHMIDT-NEUSATZ, HELGA. "ARIADNE AUF NAXOS:." In Richard Strauss-Blätter, 44–69. Hollitzer Verlag, 2006. http://dx.doi.org/10.2307/j.ctvg8p5w5.11.

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"ARIADNE AUF NAXOS." In Richard Strauss-Blätter, 70. Hollitzer Verlag, 2006. http://dx.doi.org/10.2307/j.ctvg8p5w5.12.

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"Ariadne auf Naxos." In Werke Band 1 (1902-1918), edited by Zsuzsa Bognár, Werner Jung, and Antonia Opitz, 609–20. Aisthesis Verlag, 2022. http://dx.doi.org/10.5771/9783849816872-609.

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Eder, Antonia. "III Ariadne auf Naxos." In Der Pakt mit dem Mythos, 159–200. Nomos Verlagsgesellschaft mbH & Co. KG, 2014. http://dx.doi.org/10.5771/9783968217734-159.

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LESNIG, GÜNTHER. "75 JAHRE ARIADNE AUF NAXOS." In Richard Strauss-Blätter, 3–39. Hollitzer Verlag, 1987. http://dx.doi.org/10.2307/j.ctvg8p5p8.3.

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"ARIADNE AUF NAXOS – AN IMPROVISED COLLAGE." In Richard Strauss-Blätter, 42–43. Hollitzer Verlag, 2006. http://dx.doi.org/10.2307/j.ctvg8p5w5.10.

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