Alina Wunderlin, David Butt Philip, Rachel Wills-Sørensen in Laurent Pelly’s new production, (c) Tristam Kenton
Glyndebourne Festival Opera / Robin Ticciati
Glyndebourne Theatre, July 19, 2026
Change—even when thwarted—is the bedrock upon which Ariadne auf Naxos, one of the most nuanced and refined of Strauss’ operas, is built. The work’s main conceit, indeed, is little short of chaotic: with dinner over-running at a rich man’s house (surely not Glyndebourne?!) the patron decides—in order not to delay the firework display—that his two paid-for entertainments, a newly composed opera seria and the earthier, comic troupe’s routine, must be performed simultaneously with a few minutes’ notice.
Ariadne itself went through enormous changes in the five years it took to achieve its final form, from a 30-minute codicil to Hofmannstahl’s 1911 adaptation of Le Bourgeois Gentilhomme to a standalone two-hour-plus opera in a prologue (added early in 1916 in a hiatus during the writing of Die Frau ohne Schatten) and large single act. That Prologue transformed the conception of the work immensely, focusing on the opera’s performers backstage and shining a light—not always kindly—on their inter-relationships. The Prima Donna (finely sung by Rachel Wills-Sørensen), expressive and ultimately radiant as Ariadne in the opera, bristles with outrage at the thought of having to share the stage—and sully herself by doing so—with the burlesque Zerbinetta; the shallow Tenor—a nice turn from David Butt Philip—is interested only in securing his own prestige, yet finally inhabits the role of a god with a nobility of spirit that matches Strauss’ (or should I say the Composer’s) music in the incandescent final scene.
In Laurent Pelly’s interesting new production (20 years or so after his first), not everyone achieves the change they deserve. If Ariadne herself approaches the divine, her alter ego’s journey is perhaps one more of self-justification. The Composer, portrayed with commendable ardour and emotional range here by Samantha Hankey, is ordinarily confined to the Prologue. In bringing him silently onstage to shadow his creation in her climactic transformation, is Pelly suggesting new directions at least for the Composer, artistically and emotionally? If so, it is vain, as ultimately the Composer is seduced not by Zerbinetta’s flirtatious spirit but rather his own creative persona. Zerbinetta herself, in a show-stealing performance by Alina Wunderlin (costumed by Pelly faux Cabaret in the Prologue, dazzling, Barbiesque pink for the opera), aims certainly for a rapprochement with the Composer—directly and via her attempts to connect with Ariadne—but is thwarted ultimately as Composer and creation travel off into Marco Giusti’s warmly lit sunset.
The singing throughout the cast was splendid. Michael Kraus was strong as the world-weary Music Master, Ru Charlesworth suitably louche as the Dancing Master. Mikhail Timoshenko, Caspar Singh, Liam James Karai and Liam Bonthrone were highly entertaining as Zerbinetta’s supporting troupe—incongruously arrayed in dazzling while for the opera—overshadowing inevitably the drabness of Massimo Troncanetti’s lumpen, potentially ankle-turning desert island, and the three fleet-footed Naxosmaidens (Anna Denisova, Ekaterina Chayka-Rubinstein, and Eirin Rognerud). Praise, too, to William Relton, who relished the spoken role of the Major Domo.
The Prologue set, designed by Massimo Troncanetti. Lighting Designer Marco Giusti. Glyndebourne ©Tristram Kenton 07-26
That telling drabness of setting for the desert island, in stark contrast to the brightness of The Prologue with its polished, stately edifice and modernist chandelier (I want that for my house!) was where the production rather tripped itself up. I have not been to many desert islands, but none have been grey or grubby blue. The dullness of the isle magnified Ariadne’s already depressed spirit (having been abandoned by Theseus) such that for all the brightly coloured efforts of Zerbinetta’s crew there was no real interaction, one monumental shrug aside. And while Bacchus and Ariadne did finally summon up a Wagnerian fervour (however subtly sent up by Strauss), it was Zerbinetta’s bright, showstopping aria ‘Großmächtige Prinzessin’ that remained the most memorable highpoint. Last, and in the chief place, plaudits to the scaled-down London Philharmonic Orchestra who provided some magical playing under the Festival’s music director, Robin Ticciati, who paced the work perfectly.
Ariadne auf Naxos plays for twelve further performances at Glyndebourne, on July 22 and 26, August 1, 3, 6, 9, 12, 16, 21, 23, and 26, finishing on Saturday, August 29. There is also a semi-staged performance at the BBC Proms at the Royal Albert Hall on August 19.