Name: Der Rosenkavalier
Start: 2019-10-06T00:00:00.000Z
End: 2020-02-16T00:00:00.000Z
Location: Opernhaus

Admin

Organization

Zanger

Soprano

Martina Welschenbach

Die Feldmarschallin Fürstin Werdenberg

Bass

Franz Hawlata

Der Baron Ochs auf Lerchenau

Tobias Schabel

Mezzo-soprano

Emma Sventelius

Octavian

Carmen Seibel

Baritone

Giorgos Kanaris

Herr von Faninal

Louise Kemény

Sophie

Yannick-Muriel Noah

Jungfer Marianne Leitmetzerin

Tenor

Johannes Mertes

Valzacchi

Anjara Ingrid Bartz

Annina

Susanne Blattert

Taras Ivaniv

Der Haushofmeister bei der Feldmarschallin

Jon Runar Arason

Der Haushofmeister bei Faninal

Katrin Stösel

Eine Modistin

George Oniani

Ein Sänger

Jonghoon You

Egbert Herold

Ein Notar

Martin Tzonev

Ein Polizei-Unterkommissarius

Takahiro Namiki

Ein Tierhändler

Ein Wirt

Yonsoo Kil

Erste adlige Waise

Joëlle Fleury

Zweite adlige Waise

Contralto

Ramune Slizauskiene

Dritte adlige Waise

Jae Hoon Jung

Erster Lakai

Jeongmyeong Lee

Zweiter Lakai

Miljan Milovic

Dritter Lakai

Gintaras Tamutis

Vierter Lakai

Dong-Wook Lee

Erster Kellner

Christian Specht

Zweiter Kellner

Algis Lunskis

Dritter Kellner

Boris Beletskiy

Vierter Kellner

Sven Bakin

Eduard Katz

Hausknecht

Dirigent

Dirk Kaftan

Regisseur

Josef Ernst Köpplinger

Set designer

Johannes Leiacker

Kostuum ontwerper

Dagmar Morell

Licht ontwerper

Boris Kahnert

Koor meester

Marko Medved

Ekaterina Klewitz

Dramaturg

Christoph Wagner-Trenkwitz

Volksoper Wien

Theater Bonn

Duits

Der Rosenkavalier -  (De Rozenkavalier)

Bonn

Duitsland

Opernhaus

Foyer

Der Rosenkavalier Strauss,R

Private

Public

De Rozenkavalier

Engels

Approved

Video LENS_JAZZ Infos und Tickets: https://bit.ly/2LZsEAv

“You are da Ponte and Scribe in one person.” It is hard to imagine a worse affront for Richard Strauss to offer his sensitive, or perhaps even touchy, librettist than this unfortunate comment. Surely, Hugo von Hofmannsthal did not mind being compared with Mozart’s lyricist, who at all times worked with the composer on an equal footing. Comparing him Eugène Scribe, however, a successful author of a factory-like prolificacy but no literary quality worth mentioning, will most likely have soured, or even poisoned, this well-meant compliment.

Like no other work, DER ROSENKAVALIER represents the congenial cooperation of this eminently productive duo. After ELEKTRA, the poet and the composer searched for somewhat lighter material for a new opera. “In the space of only three afternoons, I have created a complete and entirely fresh scenario for a light opera, with drastic comedy in both characters and situations”, Hofmannsthal wrote to Strauss on 11 February 1909. He had found the ambience for this light opera in the Viennese era of Maria Theresia, which provided him with a backdrop for an – ultimately timeless – comedy of manners with an extreme variety of characters. It was a piece full of (not exclusively) Austrian morbidity and wickedness, a panorama of a society in transformation with current references, a melancholy meditation on ephemerality.  

Both authors repeatedly faced the reproach that their ROSENKAVALIER was an exercise in escapism and that they did not have the courage to surpass the radicality of ELEKTRA. But this view ignores the subversive power of humour and the great potential inherent in the creators’ psychological delicacy: “You have to be light: to hold, take and let go with a light heart and light hands … Those who are not like that will be punished by life, and God will not have mercy on them”, Marschallin sings – types and characters who rise and fall, driven hither and thither between love and impermanence.

English

Voorstellingscredits (Cast & Productieteam )

Cast

Productieteam

Co-producent