Admin

Organization

Певец

Сопрано

Krassimira Stoyanova

Маршальша

Меццо-сопрано

Sophie Koch

Октавиан

Mojca Erdmann

Софи фон Фаниналь

Silvana Dussmann

Марианна

Wiebke Lehmkuhl

Аннина

Бас

Günther Groissböck

Барон Окс

Баритон

Adrian Eröd

Господин фон Фаниналь

Тенор

Kresimir Spicer

Фальзаччи

Stefan Pop

Итальянский певец

Tobias Kehrer

Полицейский комиссар

Martin Piskorski

Дворецкий Фаниналей

Franz Supper

Дворецкий Маршальши

Dirk Aleschus

Ein Notar

Roman Sadnik

Хозяин гостиницы

Franz Gürtelschmied

Продавец животных

Режиссер-постановщик

Harry Kupfer

Художник по костюмам

Yan Tax

Художник-постановщик

Hans Schavernoch

Дирижер

Franz Welser-Möst

Andreja Zidaric

Первый благородный сирота

Хормейстер

Ernst Raffelsberger

Художник по свету

Jürgen Hoffmann

Salzburger Festspiele

Others

Konzertvereinigung Wiener Staatsopernchor

Orchestra

Wiener Philharmoniker

немецкий

Der Rosenkavalier -  (Кавалер розы)

Зальцбург

Австрия

Großes Festspielhaus

As familiar as the work may be, the 150th anniversary of Richard Strauss' birth is marked with an innovation. The festival is being held for the first time, and the opera will be presented without the cuts made since the premiere in 1911, as the censors demanded it for excessive frivolity. The numbers stand out in sharper profile, with the most notable change in the first storyline being Baron Ochs' monologue, which now clearly defines his high position.

The roles are brilliantly cast: Günther Groissböck's singing is "of the finest, with a juicy lightness that gives him an irresistible villainous charm". (morning post)

Krassimira Stoyanova as Marshal "was simply breathtaking with her vocal and dramatic presence, her perfect control of voice and exemplary clarity of pronunciation". (Pivotal Culture)

The veteran Sophie Koch's Octavian is a delightful young nobleman and Mojca Erdmann portrays a confident young bourgeoise who wants to improve herself; together they are "the perfect bouquet dream". (Neue Musikzeitung)

Franz Welser-Möst is the audience's favorite on the stands of the Vienna Philharmonic. "The audience purred. They enjoyed a mesmerizing transparency, a refinement worthy of chamber music". (SZ)

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