Differences Between 1912 and 1916 Versions
| 1912 version | 1916 version |
|---|---|
| Opera is preceded by Der Bürger als Edelmann, Hofmannsthal's translation of Molière's Le Bourgeois gentilhomme, with incidental music by Strauss; "Du Venus' Sohn" is sung by an unnamed singer | Opera is preceded by Prologue; the only music retained from Der Bürger als Edelmann is "Du Venus' Sohn" which is sung by the Composer |
| Jourdain interjects various spoken comments during the opera, particularly during the opening | no comments are made during the opera |
| Grossmächtige Prinzessin: The end of "Noch glaub' ich" (before "So wär es mit Paggliazzo") continues with an instrumental repetition of the tune and ends on a B major chord | "Noch glaub' ich" cuts off and ends on an A major chord |
| Grossmächtige Prinzessin: "So war es mit Pagliazzo" begins in E major | "So war es mit Pagliazzo" begins in D major |
| Grossmächtige Prinzessin: "Als ein Gott kam Jeder gegangen" begins in E major | "Als ein Gott kam Jeder gegangen" begins in D major |
| Grossmächtige Prinzessin: After the 2nd repetition of "Als ein Gott" the aria continues to develop, including a long accompanied cadenza, ending in E major | The aria is cut down and ends in D major |
| After Zerbinetta's "Wie er feurig sich erniedert!" there is a short passage continuing the quartet for her, Brighella, Scaramuccio and Truffaldin beginning with the words "Wie der Druck den Druck erwidert" | After Zerbinetta's "Wie er feurig sich erniedert!" she continues "mach ich ihn auf diese neidig" |
| Before Zerbinetta and Harlekin sing together in octaves "Hand und Lippe, Mund und Hand!" there is a short passage of 8 measures during which Harlekin sings "Wie der Druck den Druck erwidert!" | From Zerbinetta's utterance of "Hand und Lippe" sing "ai, ai, ai, ai" and immediately goes into the duet between Zerbinetta and Harlekin |
| After Zerbinetta and Harlekin sing together in octaves "Hand und Lippe, Mund und Hand!" there are several pages continuing the quartet | After Zerbinetta and Harlekin sing together the quartet continues |
| After Ariadne sings "Die deiner lange harret nimm sie dahin!" Zerbinetta has an aria "Prinzessin! Welchen Boten lohn hab ich verdient?"; Nayad, Dryad, and later Ariadne have interjections during the aria | After Ariadne's "Die deiner lange harret nimm sie dahin!" she sees Thesus and cries out his name; there is no aria for Zerbinetta |
| After Zerbinetta's aria "Prinzessin! Welchen Boten lohn hab ich verdient?" Ariadne has a few lines invoking her mother; thereafter follows an orchestral passage, at the end of which she sees Thesus and cries his name | There is no corresponding passage |
| After the final duet between Ariadne and Bacchus, Zerbinetta returns with an aria combining motives from "Komm der neue Gott gegangen" and "So war's mit Pagliazzo und Mezzetin!"; Harlekin, Truffaldin, Brighella and Scaramuccio eventually join in | The opera ends after the Ariadne-Bacchus duet with a big orchestral conclusion |
| At the end of the Zerbinetta and company's final number, a lackey enters and tells Jourdain that the fireworks are beginning; he reflects on what people think of him and what he sees in himself; the work ends with music associated with Jourdain | There is no corresponding passage |
Read more about this topic: Ariadne Auf Naxos
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