Money rules the world. Or in this case: art. In Vienna at the end of the 17th century, the richest citizen of the city celebrates a lavish party. Of course, the artistic background is not to be missed. And what could be more appropriate than an opera performance? And a comedy play.
But it must not go on too long, because there are fireworks, too. Since art is somehow always the same for the affluent cultural philistine, why not combine one work with the other? Devalue a serious opera by a comedy? The composer and his teacher, of course, see it completely differently. But all contradiction is futile, what actually does not belong together is mixed: on the one hand, the Greek mythology around Ariadne, left behind on Naxos both lovesick and longing for death - on the other hand, a lively troupe of actors, above all the perky and fun-loving Zerbinetta.
With "Ariadne auf Naxos," Richard Strauss (1864-1949) created a work within a work in which he raises the question of the status of the various arts in relation to one another. The first version, performed with little success in Stuttgart in 1912, was followed by a second version, revised four years later and premiered in Vienna, which is still performed with great success today.