STRAUSS, R.: Rosenkavalier (Der) (Salzburg, 2004)

STRAUSS, R.: Rosenkavalier (Der) (Salzburg, 2004)


 

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- (Disc 1)
Der Rosenkavalier, Op. 59, TrV 227
Libretto/Text Author: Hofmannsthal, Hugo von

Der Baron Ochs auf Lerchenau: Hawlata, Franz
Der Haushofmeister bei der Feldmarschallin: Dickie, John
Der Haushofmeister bei Faninal: Roider, Michael
Die Feldmarschallin Fürstin Werdenberg: Pieczonka, Adrianne
Ein Notar: Loehle, Peter
Ein Polizeikommissar: Boesch, Florian
Eine Modistin: Zamojska, Aleksandra
Herr von Faninal: Grundheber, Franz
Jungfer Marianne Leitmetzerin: Kaiserfeld, Ingrid

Set/Stage Designer: Pabst, Peter
Costume Designer: Pabst, Peter
Lighting Designer: Carsen, Robert
Lighting Designer: Praet, Peter van
Choreographer: Giraudeau, Philippe
Stage Director: Carsen, Robert
Sound Producer: Langner, Raimund
Television Director: Large, Brian

Date of Production: 08-2004
Venue: Grosses Festspielhaus Salzburg
Playing Time: 03:20:57
Catalogue Number: DVWW-OPROKA
UPC: 824121001964

Synopsis

The 2004 staging of Strauss' Der Rosenkavalier was one of the most talked about productions of recent Salzburg festival years. The musical comedy has a deep-rooted performance tradition at the Salzburg Festival, but Robert Carsen's new reading opened up a new view of this operatic staple while Semyon Bychkov leading the Vienna Philharmonic and a cast of internationally renowned singers guaranteed a high musical standard.

Director Robert Carsen and his designer Peter Pabst adopted an approach to the piece that asked questions about the setting. Were Hofmannsthal (the librettist) and Strauss offering a nostalgic transfiguration of Maria Theresa's Vienna in the work or were they attempting to portray the decadent, valedictory atmosphere of the dying Habsburg monarchy? Both clearly came down in favour of the second of these interpretations: they transferred the action to the time at which the opera was written, to the final years of the Habsburg monarchy, shortly before the outbreak of the First World War.

Carsen marked the work with a coherent vision, cleverly holding its three acts and almost 200 stage personnel together. The wide stage of the Gro?es Festspielhaus allowed him to keep the main action centre-stage, while the surrounding spaces were used to comment on the action. The first act, tinted in a decorative deep-red, sets the story in a corrupted, sarcastic society where chances for the development of authentic love are very low. The second act, all silvery black and white, sees Octavian riding on a horse bearing the silver rose for Sophie, a token of Ochs' intentions. Baron Ochs' monologue amidst the waltzes takes the form of a series of confessions made to a Sigmund Freud-like figure, evoking Viennese society at the beginning of the last century. The last act then takes place in a bordello, again depicting the decadence of noble society, and when the final curtain falls, the soldiers who have been a constant presence go into the war that has been threatening throughout the opera.

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