Ariane et Barbe-bleue (French pronunciation: [aʁjan e baʁb blø], Ariadne and Bluebeard) is an opera in three acts by Paul Dukas. The French libretto is adapted (with very few changes) from the symbolist play of the same name by Maurice Maeterlinck, itself loosely based on the French literary tale La Barbe bleue by Charles Perrault.

Dukas had been impressed by Maeterlinck's play when it was first published in 1899. Maeterlinck had initially reserved the rights to use Ariane as a libretto for Edvard Grieg. When Grieg abandoned his plans to compose the opera, Maeterlinck offered it to Dukas instead. Dukas worked on the score between 1899 and 1906.

The work has often been compared to Debussy's opera Pelléas et Mélisande (1902), also based on a Maeterlinck play; Debussy had virtually finished his score by the time Dukas began work on his. The names of Barbe-bleue's five former wives are taken from previous plays by Maeterlinck: Sélysette from Aglavaine et Sélysette (1896), Alladine from Alladine et Palomides (1894), Ygraine and Bellangère from La mort de Tintagiles (1894), and Mélisande from Pelléas et Mélisande. Dukas, who knew Debussy well, actually borrowed three bars from Debussy's opera to accompany the first mention of Mélisande, although the character is minor in Dukas' opera. Ariane takes her name from the legend of Ariadne and the Cretan labyrinth, although she combines the roles of both Ariadne and Theseus, who freed the captive Athenian virgins from the Minotaur just as Ariane liberates—or tries to liberate—the wives from Bluebeard.

It received its first performance at the Opéra Comique in Paris on 10 May 1907. Performances in the latter half of the twentieth century were rare.

Ariane et Barbe-bleue was premiered at the Salle Favart in Paris by the Opéra Comique on 10 May 1907 with Maeterlinck's partner, Georgette Leblanc, in the title role. Alexander von Zemlinsky conducted it at the Vienna Volksoper on 2 April 1908. Arnold Schoenberg and his pupils Alban Berg and Anton Webern were in the audience and expressed their admiration for the music. Further performances followed in Brussels (1909), New York and Milan (1911), Buenos Aires (1912) and Madrid (1913).

Shortly after the death of Dukas there was a performance in Amsterdam (1935). The British premiere did not take place until 20 April 1937 (at the Royal Opera House, Covent Garden, London). Oper Frankfurt gave a new production in its 2007–2008 season and Opéra National de Paris took the work to Japan in July 2008, together with only one other full-length opera, on the company's first tour of that country; Gran Teatre del Liceu (Barcelona) gave a new production in June 2011, its premiere at the theatre.

In July 2022, West Edge Opera premiered a new production directed by Alison Pogorelc, which music critic Joshua Kosman wrote, "made the best imaginable case for the work."

The opera is scored for 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (including glockenspiel, cymbals, triangle, side drum, bass drum), harp, and strings.