Organization

Cantante

Soprano

Iordanka Derilova

La Marescialla, principessa di Werdenberg

Mezzosoprano

Sylvia Rena Ziegler

Octavian

Ania Vegry

Sophie

Cornelia Marschall

La signorina Marianne Leitmetzerin

Tenore

David Ameln

Valzacchi

Rita Kapfhammer

Annina

Regia

Michael Schachermaier

Direzione d'orchestra

Markus L. Frank

Scenografia

Karl Fehringer

Judith Leikauf

Drammaturgia

Felix Losert

Costumi

Jessica Rockstroh

Direzione del coro

Sebastian Kennerknecht

Basso

Michael Tews

Il barone Ochs di Lerchenau

Baritono

Kay Stiefermann

Il signore di Faninal

Jeff Martin

Claudius Muth

Ein Notar

Alexander Nikolić

Il Maggiordomo della Marescialla

Alexander Dubnov

Il Maggiordomo di Faninal

Costa Latsos

Un cantante

Rafal Bartkowiak

Ein Gelehrter

Gerit Ada Hammer

Drei adelige Waisen

Anne Weinkauf

Yirin Kim

Un commissario di polizia

Dorislava Kuntscheva

Un venditore di animali

Cezary Rotkiewicz

Dessen Gehilfe

1. Orfana

2. Orfana

Contralto

3. Orfana

Chang Hyun Kim

Field Marshal

Christian Most

Adam Fenger

Filippo Deledda

Tomasz Czirnia

Jerzy Dudicz

Stephan Biener

1. Cameriere

Anhaltisches Theater Dessau

Others

Extrachor des Anhaltischen Theaters

Opernchor des Anhaltischen Theaters Dessau

tedesco

Der Rosenkavalier -  (Il cavaliere della rosa)

Dessau

Germania

Anhaltisches Theater

Großes Haus

Der Rosenkavalier Strauss,R

Public

Il cavaliere della rosa

Approvato

Komödie für Musik in drei AufzügenMusik von Richard Strauss, Text von Hugo von HofmannsthalIn deutscher Sprache mit zusätzlichen Übertiteln»Ist ein Traum, ka...

"It's a dream, can't really be" - this quote from the final trio can also be used as the motto of the opera. Hofmannsthal succeeded in telling a story about leaving youth in a cheerful, melancholic tone. He set the action in a dreamy Vienna of Mozart's time, for which he invented numerous details with great imagination - such as that supposedly noble custom that the groom had to have the bride handed a silver rose by a cavalier. Consequently, Mozart admirer Strauss did not make the historically correct minuet, but the Viennese waltz of the 19th century the musical symbol of this half-fictional, half-nostalgically reconstructed world and created one of his most touching works.

Vienna at the time of Maria Theresa. The Field Marshal Princess Werdenberg and her lover, the young Count Octavian, are disturbed after a night of love by a coarse relative of the Princess, Baron Ochs auf Lerchenau. Before he enters the room uninvited, Octavian can disguise himself as a maid. Ochs asks the field marshal to recommend a nobleman for his marriage to a wealthy young commoner who, according to old custom, can present the bride with a silver rose on the wedding day. While Ochs tries to flirt with the supposed maid, the field marshal names Octavian as Rosenkavalier. When Octavian finally gives the bride Sophie the rose, the two cannot keep their eyes off each other. But Ochs insists on the fulfillment of the marriage contract. In the guise of the maid, Octavian lures him into a tavern in order to put him in a compromising position. The field marshal realizes that she has lost the young man and resigns herself to her fate.

English

Crediti di rappresentazione (Cast e team di produzione )

Cast

Team creativo

Ensemble