Admin

State Opera Berlin

Direction d'orchestre

Axel Kober

Mise en scène

Mise en scène (+5)

André Heller-Lopes

Décors

Xenia Hausner

Costumes

Arthur Arbesser

Lumières

Lumières (+1)

Olaf Freese

Video

Dramaturge (+2)

Günter Jäckle

Dramaturge (+1)

Philip Hillers

Soprano (+3)

Diana Damrau

La Maréchale

Basse (+3)

David Steffens

Ochs

Mezzo-soprano (+3)

Emily D'Angelo

Octavian

Baryton (+3)

Roman Trekel

Monsieur de Faninal

Regula Mühlemann

Sophie

Adriane Queiroz

Marianne Leimetzerin

Ténor (+4)

Karl-Michael Ebner

Valzacchi

Anna Kissjudit

Annina

Basse (+2)

Friedrich Hamel

Le Commissaire de Police

Ténor (+2)

Florian Hoffmann

Le Majordome de la Maréchale

Baryton (+4)

Carles Pachon

Ein Notar

Johan Krogius

L'Aubergiste

Ténor (+3)

Andrés Moreno García

Un Chanteur

Soprano (+1)

Clara Nadeshdin

Une Modiste

Orchestra

Staatskapelle Berlin

Chorus

Staatsopernchor Berlin

Kinderchor der Staatsoper Unter den Linden

Staatsoper Unter den Linden

Assistant mise en scène

Mise en scène (+2)

Katharina Lang

Le Majordome de Faninal

Trouble with relatives does not spare the Viennese nobility either: the uncouth Baron Ochs auf Lerchenau interrupts the morning tête-à-tête of his cousin, the Field Marshal, with her young lover Octavian to ask her for help with his wedding plans, which are more driven by pecuniary interests. Little does he suspect that Octavian, who is destined to be the Knight of the Rose, will end up falling in love with the bride himself...

After the archaic-dramatic one-act plays "Salome" and "Elektra", Richard Strauss was looking for a lighter, more cheerful subject in the style of Mozart's operatic comedies for his next opera - an idea 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 musically enhanced with anachronistic waltzes. This fantasy Vienna, full of joie de vivre, farces and traditional class boundaries, but also full of depression and morbidity, reflects not only the 18th century, but also the Belle Époque, which was drawing to a close. Strauss' score thus once again offers the entire wealth of orchestral timbres, sheer unrestrained indulgence that culminates in the final trio, which is unsurpassed in terms of musical beauty, but also shows deep fractures. Only a few years before the collapse of the Danube Monarchy, “Der Rosenkavalier” became the swan song of an entire era.

allemand