DER ROSENKAVALIER

Comic opera in three acts - 1911

Composer Richard Strauss. Libretto by Hugo von Hofmannsthal.
In German with German and English surtitles. New Production.

Premiere at 21. March 2021

Munich Opera Festival Thursday, 21. July 2022, 05:00 pm o'clock – 09:30 pm o'clock, Nationaltheater.

Duration est. 4 hours 30 minutes

Munich Opera Festival

Prices M , € 193 / 168 / 142 / 117 / 90 / 64 / 16 / 14

Festival orders can only be made in writing and will be processed starting Feb. 1, 2022, with remaining tickets going on sale March 26, 2022.

tickets

#BSOrosenkavalier

Conductor	Vladimir Jurowski
Production	Barrie Kosky
Set Design	Rufus Didwiszus
Costume Design	Victoria Behr
Lighting	Alessandro Carletti
Choruses	Stellario Fagone
Dramaturgy	Nikolaus Stenitzer

Die Feldmarschallin	Marlis Petersen
Der Baron Ochs auf Lerchenau	Christof Fischesser
Octavian	Samantha Hankey
Herr von Faninal	Johannes Martin Kränzle
Sophie	Katharina Konradi
Jungfer Marianne Leitmetzerin	Daniela Köhler
Valzacchi	Ulrich Reß
Annina	Ursula Hesse von den Steinen
Ein Polizeikommissar	Martin Snell
Der Haushofmeister bei der Feldmarschallin	Kevin Conners
Der Haushofmeister bei Faninal	Caspar Singh
Ein Notar	Christian Rieger
Ein Wirt	Kevin Conners
Ein Sänger	Evan LeRoy Johnson
Adelige Waise	Juliana Zara
	Jessica Niles
	Emily Sierra
Eine Modistin	Eliza Boom
Ein Tierhändler	Granit Musliu
Kinder	Eliza Boom Jessica Niles Emily Sierra Juliana Zara Granit Musliu

Bayerisches Staatsorchester

Chorus of the Bayerische Staatsoper

A peculiar work, this Rosenkavalier. With Salome and Elektra, Richard Strauss had just earned himself a reputation as the enfant terrible of the bourgeoisie on the opera stage, and went, as he wrote himself, “to the limits of what ears of the day could take”, and then, together with librettist Hugo von Hofmannsthal, on to conquer the audience, of all things with the anachronistically swaying waltzes of a high nobility comedy of an 18th century fantasized Vienna. The wonderful thing about this special quality: Strauss and Hofmannsthal drive the artificiality of this world to the extreme in text and music and allow it to grow into a dreamlike and nightmarish scenario. There is room here for all the themes that make Rosenkavalier so fascinating – the possibilities and impossibility of love, the urgency and relentlessness of passing time, the indispensability and relentless conditionality of autonomy and freedom to decide. Barrie Kosky’s Rosenkavalier also pays tribute to mostly less well-known sources of the work, such as the French operetta, L’ingenu libertin by Claude Terrasse and Louis Artus, consequently adds surprising facets to the cherished characters of Sophie and Octavian, Ochs and Marschallin, and in opulent images adds an exciting chapter to the piece’s Munich staging history.

In the online premiere and subsequent performances, the work will be performed in the arrangement by composer and conductor Eberhard Kloke. Kloke's arrangement takes the character of Der Rosenkavalier as a conversation piece as a starting point for transcribing its score into the orchestration of Strauss's subsequent opera Ariadne auf Naxos - itself a work that emerged from the intersection of drama and musical theater. The idea is to change the sound and thus the tonal structure within the orchestra, as well as the balance between stage and orchestra, achieving both an expansion and a compression of the sound; the instrumentation favors a range of contrasting split sounds instead of a mixed sound. The reference to the Ariadne orchestra is expressed, for example, in the frequent use of piano, harp, celesta and harmonium.

Further Shows

Sun 08.05.