Organization

Festtage Berlin

Lichtgestaltung

Olaf Freese

Dramaturgie

Günter Jäckle

Philip Hillers

Sänger

Sopran

Camilla Nylund

Die Feldmarschallin Fürstin Werdenberg

Bass

Christof Fischesser

Baron Ochs auf Lerchenau

Mezzosopran

Michèle Losier

Octavian

Bariton

Thomas Oliemans

Herr von Faninal

Siobhan Stagg

Sophie

Anna Samuil

Jungfer Marianne Leitmetzerin

Tenor

Karl-Michael Ebner

Valzacchi

Anna Kissjudit

Annina

Benjamin Chamandy

Ein Polizeikommisar-Unterkommesarius

Florian Hoffmann

Der Haushofmeister bei der Feldmarschallin

Spencer Britten

Der Haushofmeister bei Faninal

Zilvinas Miskinis

Ein Notar

Magnus Dietrich

Ein Wirt

Piotr Buszewski

Ein Sänger

Clara Nadeshdin

Eine Modistin

Regie

André Heller-Lopes

Dirigat

Simone Young

Kostümbild

Arthur Arbesser

Bühnenbild

Xenia Hausner

Videogestaltung

Alexandra Ionis

Dan Karlström

State Opera Berlin

Orchestra

Staatskapelle Berlin

Others

Staatsopernchor Berlin

Deutsch

Der Rosenkavalier

Berlin

Deutschland

Staatsoper Unter den Linden

Der Rosenkavalier Strauss,R

Public

Private

Englisch

Genehmigt

DER ROSENKAVALIER I Spielzeit 2019/20 I Komödie für Musik in drei Aufzügen (1911) I Musik von Richard Strauss I Text von Hugo von HofmannsthalDER ROSENKAVALI...

Trouble with relatives does not stop at the Viennese aristocracy either: the uncouth Baron Ochs auf Lerchenau interrupts the morning tête-à-tête of his cousin, the field marshal, with her young lover Octavian, in order to arrange her for his wedding plans, which are more driven by pecuniary interests to ask for help. Little does he know that Octavian, destined to be 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 subject for his next opera in the style of Mozart's operatic comedies - a suggestion 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 refined musically with anachronistic waltzes. In this fantasy Vienna full of joie de vivre, farces and traditional class boundaries, but also full of depression and morbidity, not only the 18th century is reflected, but even more so the Belle Époque, which is coming to an end. Strauss' score once again offers the full range of orchestral timbres, almost unrestrained indulgence, which culminates in the final trio, which is unsurpassed in terms of musical beauty, but also shows deep breaks. Only a few years before the collapse of the Danube monarchy, »Der Rosenkavalier« became the swan song for an entire era.

English

Aufführungskredite (Besetzung & Produktionsteam )

Besetzung

Produktionsteam

Ensemble

Co-Produzent