PHOTO: © Staatsoper Unter den Linden / Marcus Ebener

Der Rosenkavalier

In the organizer's words:
Trouble with relatives does not stop at the Viennese aristocracy: the uncouth Baron Ochs auf Lerchenau disturbs the morning tête-à-tête of his cousin, the Field Marshal, with her young lover Octavian, in order to ask her for help for his wedding plans, which are rather guided by pecuniary interests. He has no idea that Octavian, who is destined to become the Rosenkavalier, will eventually fall in love with the bride himself ... After the archaic dramatic one-act operas "Salome" and "Elektra", Richard Strauss was looking for a lighter, more cheerful material in the style of Mozart's opera comedies for his next opera - a request that Hugo von Hofmannsthal was also happy to accept. With his libretto, he created an artificial rococo Vienna with customs and dialects that were as convincing as they were invented, which Strauss enhanced on the musical side with anachronistic waltzes. This fantasy Vienna, full of joie de vivre, farces and traditional class boundaries, but also full of depression and morbidity, reflects not only the 18th century, but even more so the Belle Époque, which was coming to an end. Strauss's score once again offers the entire orchestral richness of sound, almost unrestrained indulgence, which culminates in the final tercet, unsurpassed in terms of musical beauty, but also shows deep fractures. Only a few years before the collapse of the Danube monarchy, "Der Rosenkavalier" becomes a swan song for an entire era. This content has been machine translated.


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