Ariadne auf Naxos Review: Witty but Lacks Weight at Glyndebourne 2026

The Ariadne auf Naxos review of Laurent Pelly’s staging at Glyndebourne reveals plenty of wit but ultimately lacks the emotional weight the opera demands. Richard Strauss’s opera about an opera starts with backstage shenanigans as two troupes—one high art, one low—prepare after-dinner entertainment for their rich patron. The performance that ensues when they are forced to combine their acts is the heart of the work.

Laurent Pelly’s Witty First Half

The first part finds Pelly at his witty best. We’re in the house of the richest man in Vienna, whose taste is immediately in question thanks to Massimo Troncanetti’s set—a huge doorway of gilded, inlaid wood clashing with a very 20th-century statement chandelier. William Relton’s fearsome Major-Domo pops up everywhere, cowing even Michael Kraus’s classily sung Music Master. Ru Charlesworth’s chainsmoking Dancing Master slinks around dressed as a sequined, velvety advert for Silk Cut.

Samantha Hankey, her mezzo-soprano mellow but gleaming, plays the Composer as an irascible would-be genius. Zerbinetta, the comic leading lady, teeters in stockings and suspenders. Buoyantly conducted by Robin Ticciati, the players of the London Philharmonic, reduced in number as per Strauss’s stipulations, revel in the characters’ grand hopes and small tragedies. Pelly plays to the stereotypes brilliantly, hitting the comic marks without sending things up.

The Disappointing Second Half

But this is an opera of two parts. Having been told, several times, that these dinner guests are going to find the combination of rich food and serious opera conducive to sleep, it’s disappointing to find, post-picnic, that Pelly’s own handling of the second half is less sparky and less insightful than the first. Ariadne and the rest have to clamber over a huge mound of earth that feels like an operatic in-joke, and in the twilight it’s hard to see what effect, if any, each character’s words are supposed to have.

The emotional core—the theme of love—comes across only partially. While the production shines in its comedic elements, the deeper resonances of Strauss’s score and Hofmannsthal’s libretto are muddled. The result is a staging that entertains but does not fully satisfy. The background to this story is set out in Ariadne and Dido Review: English Touring Opera's Mythological Double.

Comparison: Pelly vs. Traditional Productions

Key Takeaways from the Ariadne auf Naxos Review

• First half is brilliantly witty, with standout performances from Hankey and the orchestra.
• Second half loses momentum and fails to deliver the opera’s emotional weight.
• Pelly’s direction excels at comedy but struggles with the tragic elements.
• Musical execution under Ticciati is buoyant and detailed.
• Overall, a mixed verdict: entertaining but not transcendent.

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