Organization

Münchner Opernfestspiele

Sänger

Sopran

Marlis Petersen

Die Feldmarschallin Fürstin Werdenberg

Bass

Christof Fischesser

Baron Ochs auf Lerchenau

Mezzosopran

Samantha Hankey

Octavian

Bariton

Johannes Martin Kränzle

Herr von Faninal

Katharina Konradi

Sophie

Daniela Köhler

Jungfer Marianne Leitmetzerin

Tenor

Ulrich Reß

Valzacchi

Ursula Hesse von den Steinen

Annina

Martin Snell

Ein Polizeikommisar-Unterkommesarius

Kevin Conners

Der Haushofmeister bei der Feldmarschallin

Caspar Singh

Der Haushofmeister bei Faninal

Christian Rieger

Ein Notar

Ein Wirt

Galeano Salas

Ein Sänger

Evan LeRoy Johnson

Jasmin Delfs

Drei adelige Waisen

Jessica Niles

Emily Sierra

Eliza Boom

Eine Modistin

Granit Musliu

Ein Tierhändler

Regie

Barrie Kosky

Dirigat

Vladimir Jurowski

Lichtgestaltung

Alessandro Carletti

Kostümbild

Victoria Behr

Bühnenbild

Rufus Didwiszus

Dramaturgie

Nikolaus Stenitzer

Chordirektion

Stellario Fagone

Bayerische Staatsoper

Orchestra

Bayerisches Staatsorchester

Others

Bayerischer Staatsopernchor

Deutsch

Der Rosenkavalier

München

Deutschland

Nationaltheater

DER ROSENKAVALIER

Public

Englisch

Genehmigt

A strange thing, the Rosenkavalier . Richard Strauss had just gained a reputation as a terrifying agent on the opera stage with Salome and Elektra , had, as he himself wrote, "reached the limits of the capacity of today's ears" - and then, together with his librettist Hugo von Hofmannsthal, the audience, of all people to conquer the anachronistic wafting waltzes of a high nobility comedy in an imaginary Vienna of a fantasized 18th century. The wonderful thing about this peculiarity is that Strauss and Hofmannsthal take the artificial of this world to the extreme in language and music and let it grow into a dreamlike and nightmarish scenario in which there is room for all the themes thatmake Rosenkavalier so captivating: the possibilities and impossibility of love, the urgency and inexorability of the passing time, the indispensability and inexorable conditionality of autonomy and freedom of choice.
Barrie Kosky's Rosenkavalier also pays tribute to sources of the work that are usually less well received, such as the French operetta L'ingenu libertin by Claude Terrasse and Louis Artus, adding surprising facets to the beloved figures of Sophie and Octavian, Ochs and Marschallin and expanding the Munich ones in opulent images Production history of the work about an exciting chapter.  

In the online premiere and the following performances the work will be performed in the arrangement by the composer and conductor Eberhard Kloke. Kloke's arrangement takes the character of the Rosenkavalier as a conversation piece as a starting point in order to transcribe his score into the orchestral cast of Strauss' subsequent opera Ariadne auf Naxos – itself a work that arose from the intersection of drama and music theatre. It is about changing the sound image and thus the tonal structure within the orchestra as well as the balance between stage and orchestra, with which both an expansion and a compression of the sound is achieved; the instrumentation prefers a range of high-contrast split sounds instead of the mixed sound. The reference to the Ariadne Orchestra is expressed, for example, in the frequent use of piano, harp,

English

Der Rosenkavalier by Strauss, Ab (2022/2022), Unter der Regie von Barrie Kosky,, Dirigat Vladimir Jurowski, Nationaltheater, München, Deutschland

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