Salzburg Festival: Der Rosenkavalier

DER ROSENKAVALIER
Richard Strauss

Opera in three acts
Sung in German

The Salzburg Festival
Recorded Summer 2014

Running Time: 3h 34min 20sec

Time by Act:
Act I: 1h 17min 29sec | Act II: 1h 02min 20sec | Act III: 1h 14min 31sec


CREATIVE TEAM
Conductor Franz Welser-Möst
Director Harry Kupfer
Sets Hans Schavernoch
Costumes Yan Tax
Lighting Jürgen Hoffmann
Chorus Master Ernst Raffelsberger
Chorus Master (Children’s Choir) Wolfgang Götz

Chorus Concert Association of the Vienna State Opera Chorus Salzburger Festspiele und Theater Kinderchor
Orchestra Members of the Angelika Prokopp Sommerakademie Vienna Philharmonic

ARTISTIC TEAMThe Feldmarschallin, Princess von Werdenberg Krassimira Stoyanova
Octavian, Count Rofrano Sophie Koch
Sophie Mojca Erdmann
Marianne Leitmetzerin Silvana Dussmann
Annina Wiebke Lehmkuhl
Baron Ochs auf Lercheau Günther Groissböck
Herr von Faninal Adrian Eröd
Valzacchi Kresimir Spicer

Presentation

Beneath the surface of its lightly flowing dialogue and sumptuous music, Der Rosenkavalier explores the progress of human relations, both personal and societal. Beginning with the scandalous love affair of young Octavian and the older, yet enchanting Marschallin, the opera examines Octavian’s metamorphosis, as youthful entanglements transform into romantic commitment. The Marschallin embodies our wistful nostalgia at the passage of time, serving as a counterpoint to the Octavian’s dreamy and impetuous youthful romance. In the world of Der Rosenkavalier, Strauss and his librettist, Hugo von Hofmannsthal, summon a half-imaginary, half-real Vienna of 1740, capturing both the intricacies of aristocratic ceremony and the temporality of human existence.

Synopsis

Act I: The Marschallin's bedroom

The opera opens scandalously with Princess Marie Therese von Werdenberg (the Marschallin, wife to the Field Marshal) lying in bed with her young lover, Count Octavian Rofrano. Hearing voices outside, Octavian leaps to hide behind the bed, believing the Marschallin’s husband has unexpectedly returned his hunting trip. When Baron Ochs (the Marschallin’s cousin) appears instead, Octavian reemerges, disguised as the chambermaid “Mariandel”. Ochs announces his intention to marry Sophie von Faninal, the young daughter of a wealthy merchant who has recently been elevated to nobility.

Ochs is looking for a young man to serve as his Rosenkavalier (“Knight of the Rose”), delivering the traditional silver engagement rose, and the Marschallin suggests Octavian. Meanwhile, seeing “Mariandel” (and recognizing “her” tremendous resemblance to a picture of Octavian), Ochs begins to pursue “Mariandel” (assuming she is Octavian’s illegitimate sister), while “Mariandel” makes her quick escape.

The room then fills with supplicants to the Marschallin, while Ochs works with a notary to create his wedding contract. When all have left, the Marschallin reflects upon her own early marriage and ponders the passing of time. Octavian, again dressed as a man, returns, but the Marschallin, nostalgic, wishes to be left alone and sends him away. Realizing she has forgotten to kiss him goodbye, she sends for him, but he is gone. At the act’s close, she summons her page to bring the silver rose to Octavian while staring wistfully into her mirror.

Act II: The von Faninals' home

Herr von Faninal and Sophie await the arrival of the Rosenkavalier, while Sophie frets about her upcoming nuptials to a man she has never met. Octavian arrives, dressed completely in silver, and presents the silver rose to Sophie – a momentary encounter that evokes an immediate attraction.

As Sophie and Octavian begin to learn more about each other, Ochs enters with Sophie’s father. The boorish Baron examines Sophie like chattel and alludes to Octavian’s illegitimate sister. His servants then begin to pursue Sophie’s maids, leading the household to fall into chaos. Sophie weeps at her future, and Octavian promises to save her.

Seeing Octavian embrace Sophie, Ochs’s Italian spies (Annina and Valzacchi) reveal the young lovers to Ochs. Ochs mocks Octavian, who becomes enraged and challenges Ochs to a duel. In the duel, Ochs receives only a slight wound, but exaggerates the injury, demanding a doctor. Sophie tells her father she will never marry Ochs, and Octavian is thrown out. Sophie is sent to her room.

Ochs is left alone nursing his wounds with a glass of port when Annina enters with a letter from “Mariandel,” arranging a tryst. Ochs gleefully dances around the stage to one of the opera's many ironic and wry waltzes, refusing to tip Annina, who silently swears revenge.
Act III: A private room in an inn

At the inn, Octavian has set a trap for the Baron with the aid of Annina and Valzacchi (who have switched their allegiance to the more generous Octavian). The Baron enters the inn with “Mariandel” and is immediately greeted by musicians. As dinner commences, “Mariandel” flirts shamelessly with the Baron, who is somewhat perturbed by her resemblance to Octavian, but nonetheless attempts to entice her to join him in the bedroom. Suddenly, Annina enters, declaring Ochs is her husband, and four children run into the room, crying “Papa!”. Terrified, the Baron calls the police, claiming “Mariandel” is his fiancée. At that very moment, Sophie’s father enters, and observing the chaos, faints.

“Mariandel” takes advantage of the confusion to reveal the hoax to the police and to reveal himself as Octavian. Ochs explodes with fury, but is interrupted by the arrival of the Marschallin, who dismisses the officer and reprimands the Baron. The Baron is then chased off the stage by musicians and waiters demanding payment.

A famous trio closes the opera, as the Marschallin accepts the love between Octavian and Sophie, acknowledging the time has come to let go of her own relationship with the young man. She persuades Sophie’s father to bless the marriage as Sophie and Octavian sing a final love duet.