Historical Background and Musical Analysis
Ariadne auf Naxos belonged to the genre known as German melodrama, an attempt is to merge spoken dialogue with music, making it the only form of opera with no singing. Brandes wrote the text of Ariadne auf Naxos for his wife Charlotte, a famous singer and actress of the day. She played the part of Ariadne in the premiere. The basis for Brandes' libretto was a cantata by Heinrich Wilhelm von Gerstenberg. However, Tim Ashley in his review of a 2005 performance of the work, suggests that Brandes may have been influenced by Virgil's Aeneid, "Theseus is a man of destiny and conscience; Ariadne has no Bacchus to redeem her and instead commits suicide after seeing Theseus sail away".
Mozart attended a production of Ariadne auf Naxos and became a great admirer of Benda's compositions. In 1778 he wrote to his father expressing the desire to compose a duodrama entitled Semiramide on the model of Benda's Ariadne auf Naxos and Medea. He believed at the time that melodrama was the way to solve the problems of operatic recitative. However, Mozart never got around to creating a duodrama. He did create a miniature melodrama within his unfinished operetta, Zaide, written in 1780. Other composers who admired and were influenced by Benda's melodramas include Carl Maria von Weber and Ludwig van Beethoven.
Read more about this topic: Ariadne Auf Naxos (Benda)
Famous quotes containing the words historical, background, musical and/or analysis:
“After so many historical illustrations of the evil effects of abandoning the policy of protection for that of a revenue tariff, we are again confronted by the suggestion that the principle of protection shall be eliminated from our tariff legislation. Have we not had enough of such experiments?”
—Benjamin Harrison (1833–1901)
“Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality can disturb us.”
—Henry David Thoreau (1817–1862)
“Fifty million Frenchmen can’t be wrong.”
—Anonymous. Popular saying.
Dating from World War I—when it was used by U.S. soldiers—or before, the saying was associated with nightclub hostess Texas Quinan in the 1920s. It was the title of a song recorded by Sophie Tucker in 1927, and of a Cole Porter musical in 1929.
“Whatever else American thinkers do, they psychologize, often brilliantly. The trouble is that psychology only takes us so far. The new interest in families has its merits, but it will have done us all a disservice if it turns us away from public issues to private matters. A vision of things that has no room for the inner life is bankrupt, but a psychology without social analysis or politics is both powerless and very lonely.”
—Joseph Featherstone (20th century)