Name: Der Rosenkavalier
Start: 2019-10-06T00:00:00.000Z
End: 2020-02-16T00:00:00.000Z
Location: Opernhaus

Admin

Organization

Singer

Soprano

Martina Welschenbach

The Marschallin

Bass

Franz Hawlata

Baron Ochs of Lerchenau

Tobias Schabel

Mezzo-soprano

Emma Sventelius

Octavian

Carmen Seibel

Baritone

Giorgos Kanaris

Lord of Faninal

Louise Kemény

Sophie

Yannick-Muriel Noah

Marianne

Tenor

Johannes Mertes

Valzacchi

Anjara Ingrid Bartz

Annina

Susanne Blattert

Taras Ivaniv

The Marschallin's Major-Domo

Jon Runar Arason

Faninal's Major-Domo

Katrin Stösel

A milliner

George Oniani

An Italian singer

Jonghoon You

Egbert Herold

Ein Notar

Martin Tzonev

A police inspector

Takahiro Namiki

A vendor of pets

An innkeeper

Yonsoo Kil

First noble orphan

Joëlle Fleury

Second noble orphan

Contralto

Ramune Slizauskiene

Third noble orphan

Jae Hoon Jung

First lackey

Jeongmyeong Lee

Second lackey

Miljan Milovic

Third lackey

Gintaras Tamutis

Fourth lackey

Dong-Wook Lee

First waiter

Christian Specht

Second waiter

Algis Lunskis

Third waiter

Boris Beletskiy

Fourth waiter

Sven Bakin

Eduard Katz

Hausknecht

Conductor

Dirk Kaftan

Stage director

Josef Ernst Köpplinger

Set designer

Johannes Leiacker

Costume designer

Dagmar Morell

Lighting designer

Boris Kahnert

Chorus master

Marko Medved

Ekaterina Klewitz

Dramaturge

Christoph Wagner-Trenkwitz

Volksoper Wien

Theater Bonn

독일어

Der Rosenkavalier -  (The Knight of the Rose)

Bonn

Germany

Opernhaus

Foyer

Der Rosenkavalier Strauss,R

Private

Public

The Knight of the Rose

영어

Approved

Video LENS_JAZZ Infos und Tickets: https://bit.ly/2LZsEAv

“You are da Ponte and Scribe in one person.” It is hard to imagine a worse affront for Richard Strauss to offer his sensitive, or perhaps even touchy, librettist than this unfortunate comment. Surely, Hugo von Hofmannsthal did not mind being compared with Mozart’s lyricist, who at all times worked with the composer on an equal footing. Comparing him Eugène Scribe, however, a successful author of a factory-like prolificacy but no literary quality worth mentioning, will most likely have soured, or even poisoned, this well-meant compliment.

Like no other work, DER ROSENKAVALIER represents the congenial cooperation of this eminently productive duo. After ELEKTRA, the poet and the composer searched for somewhat lighter material for a new opera. “In the space of only three afternoons, I have created a complete and entirely fresh scenario for a light opera, with drastic comedy in both characters and situations”, Hofmannsthal wrote to Strauss on 11 February 1909. He had found the ambience for this light opera in the Viennese era of Maria Theresia, which provided him with a backdrop for an – ultimately timeless – comedy of manners with an extreme variety of characters. It was a piece full of (not exclusively) Austrian morbidity and wickedness, a panorama of a society in transformation with current references, a melancholy meditation on ephemerality.  

Both authors repeatedly faced the reproach that their ROSENKAVALIER was an exercise in escapism and that they did not have the courage to surpass the radicality of ELEKTRA. But this view ignores the subversive power of humour and the great potential inherent in the creators’ psychological delicacy: “You have to be light: to hold, take and let go with a light heart and light hands … Those who are not like that will be punished by life, and God will not have mercy on them”, Marschallin sings – types and characters who rise and fall, driven hither and thither between love and impermanence.

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