Organization

Münchner Opernfestspiele

Singer

Soprano

Marlis Petersen

The Marschallin

Bass

Christof Fischesser

Baron Ochs of Lerchenau

Mezzo-soprano

Samantha Hankey

Octavian

Baritone

Johannes Martin Kränzle

Lord of Faninal

Katharina Konradi

Sophie

Daniela Köhler

Marianne

Tenor

Ulrich Reß

Valzacchi

Ursula Hesse von den Steinen

Annina

Martin Snell

A police inspector

Kevin Conners

The Marschallin's Major-Domo

Caspar Singh

Faninal's Major-Domo

Christian Rieger

Ein Notar

An innkeeper

Galeano Salas

An Italian singer

Evan LeRoy Johnson

Jasmin Delfs

Drei adelige Waisen

Jessica Niles

Emily Sierra

Eliza Boom

A milliner

Granit Musliu

A vendor of pets

Stage director

Barrie Kosky

Conductor

Vladimir Jurowski

Lighting designer

Alessandro Carletti

Costume designer

Victoria Behr

Set designer

Rufus Didwiszus

Dramaturge

Nikolaus Stenitzer

Chorus master

Stellario Fagone

Bayerische Staatsoper

Orchestra

Bayerisches Staatsorchester

Others

Bayerischer Staatsopernchor

nemščina

Der Rosenkavalier -  (The Knight of the Rose)

Munich

Germany

Nationaltheater

DER ROSENKAVALIER

Public

The Knight of the Rose

angleščina

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

The Knight of the Rose by Strauss, Od (2022/2022), Režija: Barrie Kosky,, Dirigent Vladimir Jurowski, Nationaltheater, Munich, Germany

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