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Der Rosenkavalier © Wiener Staatsoper GmbH - Michael Pöhn

Strauss R. Der Rosenkavalier

From 13 April TO 19 April 2020
Wiener Staatsoper - Wien
Program

Strauss R. : Der Rosenkavalier 200 mn

Sung in : German
Cast
  • Conductor
    Alain Altinoglu
  • Director
    Otto Schenk
  • Performers
    Die Feldmarschallin Fürstin Werdenberg: Camilla Nylund
    Octavian: Sophie Koch
    Sophie: Chen Reiss
    Ochs auf Lerchenau: Lars Woldt
Details on the Performance

For many, the most beautiful of all the Strauss operas: Der Rosenkavalier. A mixture of melancholy, wisdom and comedy, emotional efficacy and grandiose narrative gestures. The creative partnership between kindred spirits Richard Strauss and Hugo von Hofmannsthal produced music and a text whose ability to move transcends its human and interpersonal themes: unsurpassed and unfailingly touching. And a traditional production of the Wiener Staatsoper which has been performed 1000 times! 

Source © Wiener Staatsoper

  • Venue Info
  • Seating Plan
  • Synopsis
  • Videos

Wiener Staatsoper - Wien Location Opernring 2 - 1010 Wien Autriche

  • Venue's Capacity: 1709

The Venue's History in few words …

The Vienna State Opéra is much more than just a local institution; it is a vital part of the city's identity and a national landmark.

 

As of the 17th century, the Hapsburgs lavishly patronized the opéra. Family members Ferdinand III and Leopold I composed for the théâtre, while Charles VI tried his hand at conducting the orchestra, and the Empress Maria-Theresa often mingled with the corps de ballet.

 

During the 19th century, the Karntnerthor-Theater was demolished and the présent building was constructed on the famous " Ring ". It was here that Mahler, with the help of the set designer Alfred RoUer, imposed a new style of performance, based on audacious stagings and a very précise interprétation ofthe score, which demanded countless rehearsals.

 

After the fall of the Hapsburgs, Richard Strauss took over the reins of the newly baptized Vienna State Opéra. Curiously enough, only one of Strauss'operas, THE WOMAH WITHOUT A SHADOW, was premiered in Vienna. Clemens Krauss and Karl Bôhm were to follow in his footsteps. Under Bôhm's direction, the Opera created its own Company, which was to serve as a model for several générations. Even the bombs that destroyed the opéra house in 1945 could not prevent singer s such as Elisabeth Schwarzkopf, Irmgard Seefried, Sena Jurinac or Erich Kunz from becoming legendary.

 

One musn't think that the Viennese applaud only their homegrown stars. In 1955, when Maria Callas came to sing LUCIA DI LAMMERMOOR in the reconstructed building with Karajan conducting, the public blocked traffic to pay tribute to the diva... in the street! Karajan succeeàed Karl Bôhm, and invited many international stars to corne sing on the Viennese stage. Works were henceforth sung in their language of origin, and coproductions with La Scala permitted the disco-very of voices such as that of Mirella Freni in LA BOHEME.

 

Ioan Holender has suceeded in deftly combining these international distributions with an ensemble System. He has scheduled many works never heard on the Viennese stage, which are now included in the Opera's répertoire, such as Verdi's JERUSALEM and Enesco's OEDIPE, furthering a policy instated under Claudio Abbado's brilliant direction. Whatever changes may now occur, the Opera will continue to stage at least 300 performances per season (an absolute world record ren-dered feasible thanks to the în-house technical crew, which hires no less than 250 people), and the public will continue to applaud the finest orchestra any amateur could wish for in the pit : the Vienna Philharmonie !

Wiener Staatsoper

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Der Rosenkavalier

The Knight of the Rose (Le chevalier à la Rose) is a three-act comic opera by Richard Strauss to Hugo Von Hofmannsthal, the original German libretto, and Harry Von Kessler. The opera was first performed at the Königliches Opernhaus in Dresden, Germany on January 26, 1911 under the direction of Monsieur de Pourceaugnac. Initially, the title of the Knight of the Rose was Ochs Von Lerchenau. Le Chevalier à la Rose was an immediate hit and it is reported that at the time of its debut, tickets were completely sold out. Today, Le Chevalier à la Rose remains a part of the standard opera repertory.

Act 1 The Marschallin's Bedroom
The Marschallinand Count Octavian Rofrano, her younger lover, exchanges vows of love in the absence of her husband. Baron Ochs, Marschallin's boorish cousin arrives to reveal his engagement to Sophie von Fanninal. Och desperately needs a knight to deliver a traditional silver rose to Sophie. However, for a moment, Mariandel (Octavian disguised as a chambermaid), intrigues Ochs.
The valet and the maids waltz in and out of the room, which gets filled with supplicants. Also, a morning serenade performed by an Italian singer gets interrupted by the arrival of Baron Ochs. After the agitation, the Marschallian finds herself all by herself. She doesn't think much of her egotistical cousin. At the thought of her early marriage, she starts to muse and contemplates her youthfulness and the unavoidable passage of time.

Act 2: The Von Fanninal's Home
The Marschallian comes to realize that Octavian will one day leave her for someone younger. However, despite that, she sticks with her choice to have Octavian present the silver rose to the bride-to-be. Sophie on the other hand forgets all about her pending marriage when she sees Octavian. As soon as she sets her eyes on him, it's love at first sight.
When Baron Ochs arrives at the Fanninal household, he treats Sophie rudely. How can she marry this arrogant man, especially when she has fallen for someone else? However, Ochs surprises the two (Sophie and Octavian) during a soft conversation. Octavian loses his cool and challenges Ochs to a duel in which the Baron gets slightly wounded in the fracas and cries out bloody murder. A doctor is called, but the Baron's spirit is lifted by only a glass of wine. Ochs receives Mariandel's letter asking him for a meeting, but it all turns out to be a trap set by Octavian.

Act 3: Private Room in an Inn
Ochs attempts to seduce Mariandel but he's caught when Sophie and her father in the act, Octavian is responsible. Ochs leaves the room embarrassed and in the meantime, the Marschallin, who arrives to sort out the situation, discovers that Octavian is in love with Sophie. A sublime trio follows.

THE MAIN ROLES
MargaretheSiems,TheMarschalli,Soprano
Eva von der Osten, Octavian,Mezzo-soprano
Karl Perron, Baron Ochs, Bass
Minnie Nast, Sophie von Faninal,Soprano
Fritz Soot, Italian Singer, Tenor

Wiener Staatsoper

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