Admin

Staatsoper Unter den Linden ( State Opera Berlin )

Conductor

Axel Kober

Stage director

Stage director (+5)

André Heller-Lopes

Set designer

Xenia Hausner

Costume designer

Arthur Arbesser

Lighting designer

Lighting designer (+1)

Olaf Freese

Video

Dramaturge (+2)

Günter Jäckle

Dramaturge (+1)

Philip Hillers

Soprano (+3)

Diana Damrau

The Marschallin

Bass (+3)

David Steffens

Baron Ochs of Lerchenau

Mezzo-soprano (+3)

Emily D'Angelo

Octavian

Baritone (+3)

Roman Trekel

Lord of Faninal

Regula Mühlemann

Sophie

Adriane Queiroz

Marianne

Tenor (+4)

Karl-Michael Ebner

Valzacchi

Anna Kissjudit

Annina

Bass (+2)

Friedrich Hamel

A police inspector

Tenor (+2)

Florian Hoffmann

The Marschallin's Major-Domo

Baritone (+4)

Carles Pachon

Ein Notar

Johan Krogius

An innkeeper

Tenor (+3)

Andrés Moreno García

An Italian singer

Soprano (+1)

Clara Nadeshdin

A milliner

Orchestra

Staatskapelle Berlin

Chorus

Staatsopernchor Berlin

Kinderchor der Staatsoper Unter den Linden

Staatsoper Unter den Linden

Assistant Stage Director

Stage director (+2)

Katharina Lang

Faninal's Major-Domo

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.

vācu