Admin

State Opera Berlin

Direttore d'orchestra

Axel Kober

Regia

Regia (+5)

André Heller-Lopes

Scenografia

Xenia Hausner

Costumi

Arthur Arbesser

Luci

Luci (+1)

Olaf Freese

Video

Drammaturgo (+2)

Günter Jäckle

Drammaturgo (+1)

Philip Hillers

Soprano (+3)

Diana Damrau

La Marescialla, principessa di Werdenberg

Basso (+3)

David Steffens

Il barone Ochs di Lerchenau

Mezzosoprano (+3)

Emily D'Angelo

Octavian

Baritono (+3)

Roman Trekel

Il signore di Faninal

Regula Mühlemann

Sophie

Adriane Queiroz

La signorina Marianne Leitmetzerin

Tenore (+4)

Karl-Michael Ebner

Valzacchi

Anna Kissjudit

Annina

Basso (+2)

Friedrich Hamel

Un commissario di polizia

Tenore (+2)

Florian Hoffmann

Il Maggiordomo della Marescialla

Baritono (+4)

Carles Pachon

Ein Notar

Johan Krogius

Un oste

Tenore (+3)

Andrés Moreno García

Un cantante

Soprano (+1)

Clara Nadeshdin

Una modista

Orchestra

Staatskapelle Berlin

Chorus

Staatsopernchor Berlin

Kinderchor der Staatsoper Unter den Linden

Staatsoper Unter den Linden

Assistente alla regia

Regia (+2)

Katharina Lang

Il Maggiordomo di 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.

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