Metropolitan Opera’s new production of Richard Strauss’s Der
Rosenkavalier is dazzling. It is a brilliant updating of this Met
favorite, which has had more than 400 performances at the Met.
The Met’s current production moves the setting of Strauss’s most
popular opera from its original setting in mid-18th century Vienna, to
the time of its World Premiere in 1911. Historians note that this was an
unsettled time, and the current Met production reflects that, in spite
of its many subtle comedic elements. The setting is just before the
upheaval of World War I, and the sets, staging and costumes reflect
that fact.
The appearance of a giant anti-aircraft gun later in the opera,
references both the prevailing winds of war of the early 20th century
and the current state of bloodshed in the Ukraine.
In the original opera, Strauss and his librettist Hugo von Hofmannsthal
created an idealized fiction of a Vienna that never existed. This
production by the Met, however, is more fact driven, which makes it all
the more poignant.
Strauss’s heroine is a worldly woman, out of place in her own time,
but firmly at the center of the Modern World. The Marschallin,
Marie-Therese von Werdenberg (sung expressively by Norwegian soprano
Lise Davidsen) is the very embodiment of today’s liberated woman.
In the opening scene, she is recounting a night of rapture with her
young lover Octavian (American mezzo-soprano Samantha Hankey, in the
pants role). Their mutual infatuation is darkened by the
Marschallin’s reflections on her own unhappy marriage and the
melancholic realization that Octavian will eventually leave her for a
younger love.
With the lead characters sung by two powerful sopranos and skillful
leadership from Simone Young at the helm of the Metropolitan Opera
orchestra, this production of Der Rosenkavalier is an exemplary display
of superb female talent on the Met stage.
This performance of Der Rosenkavalier had special significance because
it occurred in the waning days of Women’s History Month, March 2023,
as declared by President Joe Biden at the White House.
Revival Stage Director Paula Suozzi deserves special mention for
creating a starkly original vision on stage. Set Design by Paul
Steinberg and Costumes by Brigitte Reiffenstuel fully realize Carsen’s
realization of a militarized Vienna on the verge of collapse.
From the opening strains of the Prelude to Act I, Maestro Simone Young
elicits a performance of measured suspense and absolute beauty from the
Met Orchestra. Strauss’s arching rhythms and silvery melodies, appear
and subside like blossoming spring flowers. The score is once again
brought to life. Although fans of the opera have heard the notes time
and again, they sound anew under Young’s baton.
There are many incredible moments in this performance. Among them, the
duet between Sophie (Erin Morley) and Octavian (Samantha Hankey) in Act
II. Presentation of the Rose is performed with imaginative choreography
by Philippe Giraudeau.
The Final Trio between the Marschallin (Lise Davidsen), Sophie (Erin
Morley) and Octavian (Samantha Hankey), is one of the sublime moments in
all of opera. It is one of the payoffs of sitting through what is a four
and a half hour opera that seems to fly by. It is a truly satisfying
evening of Grand Opera at its height.
Steinberg’s set design, lighting design by Robert Carsen and Peter Van
Praet and Brigitte Reiffenstuel’s costumes make this production a
vivid recreation of Strauss’s masterpiece.
It would be remiss not to mention the fine work of Metropolitan Opera
Chorus Master Donald Palumbo and the Musical Preparation staff, in
creating this excellent presentation. The chorus plays an integral part
throughout.
The entire premise of Der Rosenkavalier is rooted in the imaginary
ritual of a silver embossed rose presented by a chosen ‘Knight of the
Rose’. in this case, it is Octavian, who will present the silver rose
to the intended bride of the lecherous Baron Ochs von Lerchenau (sung
with gleeful abandon by Austrian bass Gunther Groissbock).
The role of Sophie is sung with supple beauty by Erin Morley, a Graduate
of the Lindeman Young Artist Development Program.
In the season opening night, the part of the Marschallin’s Major-Domo
is sung by Spencer Hamlin in his Met debut.
This is a superlative production that puts a florid accent on the
opening weeks of spring. Der Rosenkavalier plays in movie theatres
around the globe Saturday, April 15 11am CT, 12pm ET with an Encore
Wednesday April 19 at 12 pm and 6:30pm. For information, visit
metopera.org/season/in-cinemas [2] or fathomevents.com [3].
Links:
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[1] http://metopera.org/season/in-cinemas
[2] https://www.metopera.org/season/in-cinemas
[3] http://fathomevents.com