Ariane et Barbe-Bleue

Teatro Regio, Friday 23 November 2007 - Saturday 1 December 2007


I Libretti - Ariane

A cura di (traduction) by Lionello Sozzi
132 pages
28 illustrations
price 8,00 €


«Music that is music». «Ariadne and Bluebeard» Amidst fairy tale language and feminist apologue Ariadne and Bluebeard»

by Luca Zoppelli

As long ago as 1893 – much ealrlier, therfore, than laying his hands on only one of the three or four  scores that now assure him  a place in the history of European music – the young Paul Dukas had sent his colleague Vincent D’Indy a declaration of exremely lucid and precise operatic poetics…

The sources for Bluebeard

by Lionello Sozzi

Charles Perrault did not invent the story of Bluebeard: before becoming one of the most well-known stories by the great French author of fairy tales in the seventeenth century (La Barbe Bleue, of 1697), its ideas, motifs and themes had come together in folklore or in other literary texts…

A portrait

by Luca del Fra

Composer as well as refined orchestrator, essayist but also music critic and educator: many are the activities carried out by Paul Abraham Dukas (1865 - 1935), a well-rounded musician who lived in a period of radical change in the musical life of France…

Return from the past
«A battle cry» unheeded. The first performance in Torino of «Ariadne and Bluebeard»

by Valeria Pregliasco and Giorgio Rampone

[…] To out together that first performance in Torino of Ariadne was the not yet twenty-seven year old Vittorio Gui, who […] managed to draw from the orchestra «such variety of colours, exquisite delicacies, surges of sonority and decorative effects as to be worthy of unconditional praise »…

Further notes

by Angelo Chiarle

«It is only education that allows us to perceive the organic development of the great forms of art, and we judge the same thing differently according to the degree of culture that we have received».It is as if Paul Dukas is trying to remind us, with this simple synopsis of August 1898, of the need for a close examination of his character and his opera...

Virtual bookmarks: a walk through the web

by Alberto Bosco

«Il était une fois un homme qui avait de belles maisons à la ville et à la campagne; de la vaisselle d’or et d’argent, des meubles en broderies et des carrosses tout dorés, mais par malheur cet homme avait la barbe bleue […]». Here is the beginning of La Barbe Bleue, the celebrated tale by Charles Perrault, first published in 1697 in the collection of the Contes de ma mère l’Oye. Anyone wanting to read the complete version can do so free of charge at @ la


(L’Argument, Synopsis, Die Handlung)

The structure of the opera and the instrumental layout

by Enrico M.Ferrando

Ariadne and Bluebeard is a typical example of  post-Wagnerian opera: it is thus a ‘drama in music’, and is not arranged in a succession of separate musical ‘numbers’ like 19th century Italian and French opera . On the  contrary, the  music flows in perfect continuity from the beginning to the end of each act…