Skip to main content

🥂 Celebrate 50 Years of Opera 🎶 Get Your Tickets Now

Arianna (1998)

Lost Opera by Monteverdi in Eight Scenes

Music by Alexander Goehr
Composed again by Alexander Goehr in 1994-95

Original libretto by Ottavio Rinuccini (1608)

English translation by Margaret B. Stearns, commissioned by Opera Theatre of Saint Louis

Used by arrangement with European American Music Distributors Corporation, sole U.S. and Canadian agent for Schott & Co., Ltd, London, publisher and copyright owner.

The first performance of Alexander Goehr’s Arianna was given on 15 September 1995 at The Royal Opera House, Covent Garden, London.

Dates of Performance
June 7, 10, 13, 19, 25

 

1998 Season
Faust     Don Pasquale

Arianna     Katya Kabanova

 

< Previous Production | Next Production >

Photo Gallery

Cast

Dorothy Byrne*
Venere (Venus)

 

Janice Creswell
Amore (Cupid)

 

Marcel Reijans*
Teseo (Theseus)

 

Jeffrey Picón
First Soldier

Thomas Trotter*
Second Soldier

 

James Wood*
Councillor to Teseo

 

Phyllis Pancella
Arianna (Ariadne)

 

Dorothy Byrne*
Dorilla

Kevin Short*
First Messenger

 

Jeffrey Picón
Second Messenger

 

Mark Crayton*
Bacco (Bacchus)

 

Kevin Short*
Giove (Jupiter)

*Company Debut

Creative Team

Grant Llewellyn*
Conductor

 

Tim Ocel
Stage Director

 

Leslie M. Taylor*
Set Designer

 

Robin VerHage-Abrams
Costume Designer

Christopher Akerlind
Lighting Designer

 

Tom Watson
Wig & Makeup Designer

 

Timothy Long*
Repetiteur

 

Christopher Gurr*
Intern Assistant Stage Director

Molly Dill
Stage Manager

 

Kimberly A. Stowers*
Assistant Stage Manager

 

Laura R. Krause*
Intern Assistant Stage Manager

Synopsis

Venere tells her son, Amore, that Teseo, the Athenian hero who has killed the Minotaur, will arrive on Naxos only to abandon his new bride, Arianna. Venere also predicts the arrival of Bacco, the god who, with Amore’s help, will fall in love with Arianna.

Teseo arrives with his soldiers, trophies, and Arianna. Arianna is tormented by the fact that, by helping Teseo kill the Minotaur, she has betrayed her parents and her country. He comforts her, and they seek shelter for the night.
That night, Teseo reproaches himself for thoughts of abandoning Arianna — she did, after all, save his life — but his counselor insists that he leave her behind on Naxos. Teseo decides that reputation and ambition are more important to him than Arianna and prepares to set sail without her. The fishermen of Naxos reflect on the duty of kings and sing a hymn to the dawn.

Arianna, distraught at being unable to find Teseo, is comforted by Dorilla. They set off for the shore. The fishermen discuss the meaning of Teseo’s departure and compare the art of politics with their own simple lives.

A messenger describes how Teseo’s ships slipped away and how Arianna, upon seeing them disappear, rushed into the sea in a vain attempt to follow. She is rescued by fishermen, who express their pity at her fate.

Arianna laments Teseo’s departure, and Dorilla tries to comfort her once more. The trumpets of approaching ships are heard, and Arianna and Dorilla rush to the shore, hoping it is Teseo returning.

A messenger announces the arrival, not of Teseo, but of Bacco. When he arrives on shore, Bacco immediately falls in love with Arianna.

Amore summons the gods to witness the happy occasion. Venere greets the couple, and Giove appears to summon them to heaven. As Bacco’s soldiers sing a joyful chorus, he tells Arianna that her reward is to be loved by a god.

Just as Norina receives a despairing note of farewell from Ernesto, Malatesta arrives to engage her in his scheme to outwit Pasquale. She is to impersonate his virtuous sister, go through a mock wedding ceremony with Pasquale, then turn around and drive him mad with outlandish demands. Norina delightedly agrees.

This production is made possible by a grant from the National Endowment for the Arts, a federal agency.

Major support has also been provided by Rudolph W. Driscoll and OTSL’s Driscoll Endowment for Contemporary Opera.

The Whitaker Foundation has generously supported this production, as well as a symposium on Arianna featuring composer Alexander Goehr.

Additional support was provided by Emily Rauh Pulitzer.

Scenic design by Leslie Taylor is partially underwritten by OTSL’s Dr. Alvin R. Frank Memorial Fund.

Grant Llewellyn’s engagement as conductor is sponsored by The Edward Chase Garvey Memorial Fund.

Past Productions by Decade:

1970s    1980s   1990s    2000s    2010s    2020s