Organization

Münchner Opernfestspiele

Śpiewak

Sopran

Marlis Petersen

Marszałkowa, Księżna Werdenberg

Christof Fischesser

Baron Ochs Auf Lerchenau

Mezzosopran

Samantha Hankey

Oktawian

Baryton

Johannes Martin Kränzle

Faninal

Katharina Konradi

Zofia

Daniela Köhler

Panna Marianna Leitmetzer

Tenor

Ulrich Reß

Valzacchi

Ursula Hesse von den Steinen

Annina

Martin Snell

Komisarz policji

Kevin Conners

Majordomus marszałkowej

Caspar Singh

Majordomus Faninala

Christian Rieger

Ein Notar

Oberżysta

Galeano Salas

Evan LeRoy Johnson

Jasmin Delfs

Drei adelige Waisen

Jessica Niles

Emily Sierra

Eliza Boom

Modystka

Granit Musliu

Handlarz zwierząt

Reżyseria

Barrie Kosky

Dyrygent

Vladimir Jurowski

Reżyseria światła

Alessandro Carletti

Kostiumy

Victoria Behr

Scenografia

Rufus Didwiszus

Dramaturgia

Nikolaus Stenitzer

Przygotowanie chóru

Stellario Fagone

Bayerische Staatsoper

Orchestra

Bayerisches Staatsorchester

Others

Bayerischer Staatsopernchor

niemiecki

Der Rosenkavalier -  (Kawaler srebrnej róży)

Monachium

Niemcy

Nationaltheater

DER ROSENKAVALIER

Public

Kawaler srebrnej róży

angielski

Approved

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

Kawaler srebrnej róży by Strauss, od (2022/2022), W reżyserii Barrie Kosky,, Dyrygent Vladimir Jurowski, Nationaltheater, Monachium, Niemcy

Udział w spektaklu (Obsada & realizacja )

Obsada

Załoga

Ensemble

Współproducent

Program, informacje i streszczenie

Zdjęcia

Dalsza lektura

Daty i miejsca występów

Miejsca