Dutch National Opera 13 April 2023 - Der Rosenkavalier | GoComGo.com

Der Rosenkavalier

Dutch National Opera, Main Stage, Amsterdam, Netherlands
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Thursday 13 April 2023
6:30 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Amsterdam, Netherlands
Starts at: 18:30
Acts: 3
Intervals: 2
Duration: 4h 15min
Sung in: German

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

In Der Rosenkavalier, Richard Strauss presents a world on the brink of vanishing. The opera artfully balances comic intrigue with poignancy, revealing a set of characters trying to hold on to a life that is an illusion. Their efforts are in vain: the passage of time is relentless, paving the way for a future that lies with the next generation.

Der Rosenkavalier (1911) had long been on Lorenzo Viotti’s wish list when he became chief conductor of Dutch National Opera. Its brilliant score champions both the orchestra and the voice, offering swirling Viennese waltzes with swaggering rhythms as well as breathtaking vocal lines. This opera gives Viotti the perfect opportunity to show different sides of his artistry. 

Viotti will be working with a first-rate cast of singers. Soprano Maria Bengtsson makes an ideal Marschallin with her noble voice and undeniable stage presence, while mezzo-soprano Angela Brower, renowned for her velvety sound and pristine delivery, takes on the role of Octavian. German bass Christof Fischesser will bring his deep, rich warm tones as well as his flair for comedy to the role of Baron Ochs.

History
Premiere of this production: 26 January 1911, Königliches Opernhaus, Dresden

Der Rosenkavalier (The Knight of the Rose or The Rose-Bearer) is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. It is loosely adapted from the novel Les amours du chevalier de Faublas by Louvet de Couvrai and Molière's comedy Monsieur de Pourceaugnac. It was first performed at the Königliches Opernhaus in Dresden on 26 January 1911 under the direction of Max Reinhardt, Ernst von Schuch conducting. Until the premiere the working title was Ochs auf Lerchenau. (The choice of the name Ochs is not accidental, for in German "Ochs" means "ox," which describes the character of the Baron throughout the opera.)

Synopsis

Time: 1740s, in the first years of the reign of Empress Maria Theresa
Place: Vienna

Act 1

The Marschallin's bedroom

Princess Marie Therese von Werdenberg (known as the Marschallin, the title given to a Field Marshal's wife) and her much younger lover, Count Octavian Rofrano, are lounging in bed together just before daybreak ("Wie du warst! Wie du bist"). Loud voices are soon heard outside, and the Marschallin has Octavian hide, believing that her husband has returned early from a hunting trip. Octavian emerges in a skirt and bonnet ("Befehl'n fürstli' Gnad'n, i bin halt noch nit recht...") and tries to sneak away, but the Marschallin's country cousin, Baron Ochs auf Lerchenau, bursts in through the same door.

The Baron is newly engaged to Sophie Faninal ("Selbstverständlich empfängt mich Ihro Gnaden"), the daughter of a wealthy merchant, though this does not keep him from making lewd comments at the disguised Octavian. Ochs has come to ask two favors: he wants to borrow his cousin's notary to write the marriage contract, and he wants her recommendation of a young nobleman to serve as his Rosenkavalier ("Knight of the Rose"), who will deliver the traditional silver engagement rose to Sophie. The Marschallin instructs "Mariandel" to fetch Octavian's miniature portrait and present it to the Baron. Ochs easily accepts Octavian as his Rosenkavalier, deciding that the "maid" must be that young count's "bastard sister", then insists that the Marschallin allow "Mariandel" to come and work for his new bride. She refuses as politely as possible and finally dismisses the "maid".

A busy reception scene ensues as the room fills with vendors and supplicants to the Marschallin ("Drei arme adelige Waisen"), who ignores the former and aids the latter. A tenor sent by the Portuguese ambassador serenades her ("Di rigori armato") while Ochs sits down with the notary. Two Italian intriguers, Valzacchi and Annina, present scandal sheets for sale, which the Marschallin coldly declines. Ochs tries to stipulate a gift from Sophie's family consisting of all their properties, free from mortgages, and quickly loses patience with the notary's attempts to explain that this is illegal. Amidst all the activity, the Marschallin remarks to her hairdresser: "My dear Hippolyte, today you have made me look like an old woman." ("Mein lieber Hippolyte"). This so disturbs her that she orders the room to be emptied. As the people file out, Valzacchi and Annina offer Baron Ochs their spying services. He asks whether they know anything about "Mariandel"; they promptly lie and claim to know all about her.

The Marschallin, now alone, ponders her waning youth and the unhappiness of her forced marriage, perceiving the same in store for Sophie Faninal ("Da geht er hin..."). Octavian returns, dressed again in men's clothes ("Ach, du bist wieder da"). When he sees that the Marschallin is out of sorts, he assumes it is from her earlier fear that he might have been discovered. But she is still thinking of the passage of time (a clock is heard chiming thirteen times) and tells him that, very soon, he will leave her for someone younger and prettier. Octavian reacts with frustration, and the Marschallin turns him away. Too late, she realizes that she has neglected to kiss him goodbye. With nothing else to be done, she summons her young page, Mohammed, to take the silver rose to Octavian, then stares pensively into her hand mirror (or similar) as the curtain falls.

Act 2

The von Faninals' palace

The next day, Herr von Faninal and Sophie exultantly await the arrival of the Rosenkavalier ("Ein ernster Tag, ein grosser Tag!"). Following tradition, Faninal departs before the Knight appears, saying that he will return with the bridegroom. Sophie prays to keep her sense of humility through all the rapid changes happening in her life, but she is repeatedly interrupted by her duenna, Marianne, who reports from the window on the Rosenkavalier's elaborate entourage ("In dieser feierlichen Stunde der Prüfung"). Octavian arrives with great pomp, dressed all in silver, and presents the silver rose to Sophie ("Mir ist die Ehre widerfahren..."). She smells it, saying it is as sweet as a greeting from Heaven itself. Octavian, instantly smitten, joins her avowal that they will remember this moment until death.

They settle into a chaperoned conversation. Sophie reveals that she already knows Octavian's full name – Octavian Maria Ehrenreich Bonaventura Fernand Hyacinth Rofrano – from studying the catalogue of Austrian nobility to prepare for her marriage. She even knows his nickname: Quinquin, which only intimate friends (including the Marschallin) call him. She adds that she likes him very much. Ochs then enters with Faninal ("Jetzt aber kommt mein Herr Zukünftiger") and wastes no time revealing his character to the bride, loudly examining Sophie's body and comparing her to "an unbroken filly" when she protests. Once he leaves the room with Faninal to finalize the marriage contract, Sophie and Octavian quickly agree that she will not marry the Baron under any circumstances.

The young lovers' rapturous duet ("Mit Ihren Augen voll Tränen") is soon interrupted by Valzacchi and Annina, who surprise them and call for Ochs. Octavian challenges the Baron to a duel. Ochs runs forward, scratches his arm on the point of Octavian's drawn sword, and screams so that Faninal and the rest of the household come rushing in. Sophie begs her father to call off the wedding, to no avail: Octavian is asked to leave, and Sophie is sent to her room. Ochs is left on the divan, his arm in a sling, nursing a bottle of port and fantasies of revenge against Octavian. But Annina brings him something that raises his spirits much more quickly: a letter signed by "Mariandel," the "chambermaid" from Act 1, asking for a tryst. At this, Ochs forgets his sling and waltzes across the stage, ignoring Annina's hints for a tip - and missing her quiet promise to get even ("Da lieg' ich!").

Act 3

A private room in a shabby inn

Valzacchi and Annina, fed up with the Baron, help Octavian prepare a trap the following evening. Elaborate preparations are seen in pantomime before Ochs arrives with "Mariandel," ready for a cozy dinner at a table set for two.

In spite of himself, Ochs is disturbed by "Mariandel's" uncanny resemblance to his nemesis Octavian, and he keeps catching glimpses of strange apparitions in the room. A disguised Annina bursts in, calling Ochs her husband and the father of her (numerous) children, who crowd around him crying "Papa! Papa!" The Baron calls for the police; to his unpleasant surprise, the vice squad treats him with suspicion, and Valzacchi is suddenly claiming not to know him. The police inspector asks about the "woman" accompanying him, and Ochs lies that "she" is his fiancée, Sophie Faninal - just in time for Herr von Faninal to arrive, demanding to know why Ochs' messenger (presumably Valzacchi) has summoned him to this disreputable place. When asked if "Mariandel" is his daughter, Faninal retorts in a rage that his daughter is outside. The real Sophie enters and announces once and for all that she does not consider Baron Ochs her bridegroom. Her apoplectic father staggers out, leaning on her shoulder.

"Mariandel" now offers to make a statement in private, and retires behind a screen with the Police Inspector. Soon Ochs sees articles of women's clothing coming into view. He rages against the vice squad, but is interrupted by the arrival of the Marschallin. The Police Inspector greets her before clearing the room, and she explains to the Baron that he has been had. Sophie returns, and Octavian emerges, to confirm that they set up a "masquerade" together to break his engagement. Ochs, glancing back and forth between Octavian and the Marschallin, now grasps the nature of their relationship and asks for hush money. But he is cowed by the Marschallin's force of will (if not the sight of Octavian's sword) and ingloriously departs, pursued by children and bill collectors.

The Marschallin, Sophie, and Octavian are left alone, and Octavian does not know what to do. The Marschallin introduces herself to Sophie, recognizing that the day she feared has come (Trio: "Marie Theres'!" / "Hab' mir's gelobt"), and releases Octavian to be with the woman he truly loves. She then withdraws, with a promise to Sophie that she will offer Faninal a face-saving ride home in her carriage. As soon as she is gone, Sophie and Octavian run to each other's arms. Faninal and the Marschallin return to find them locked in an embrace. With a last, bittersweet look toward her lost lover, the Marschallin heads for the carriage with Faninal. Sophie and Octavian follow after another brief but ecstatic love duet ("Ist ein Traum" / "Spür' nur dich"). The opera ends with little Mohammed trotting in to retrieve Sophie's dropped handkerchief, then racing out again after the others.

Venue Info

Dutch National Opera - Amsterdam
Location   Amstel 3

The Dutch National Opera is the largest theatre production house in the Netherlands. Situated in the heart of Amsterdam, the iconic theatre of Dutch National Opera & Ballet offers a magnificent view of the River Amstel and the famous Magere Brug (Skinny Bridge). The various spaces form an inspiring backdrop for a whole range of special events.

Dutch National Opera & Ballet is a young theatre with a long history. The plans for building a new theatre ran parallel to the plans for a new city hall. The first discussions held by the Amsterdam city council about building a new city hall and opera house go back to 1915. At that time, the plans were specifically for an opera house, since ballet was a relatively unknown art form back then.

Ideas for the site of the new city hall and opera house were continually changing, and the idea that both buildings could form a single complex only emerged much later. Sites considered for the new city hall were initially the Dam, followed by the Frederiksplein, and finally the Waterlooplein.

In 1955, the city council commissioned the firm of architects Berghoef and Vegter to draft a design for a city hall on the Waterlooplein. The draft was approved, but in 1964 the council ended the association with the architects, as the final design was nothing like the original plans they had been shown. In 1967, a competition was held for a new design, with the Viennese architect Wilhelm Holzbauer emerging as the winner. Amsterdam's financial problems, however, meant that the plans for the new city hall were put on hold for several years.

DNO has its own choir of sixty singers and technical staff of 260. DNO historically has not had its own resident orchestra, and so various orchestras of the Netherlands, including the Netherlands Philharmonic Orchestra (NPO), the Netherlands Chamber Orchestra (NKO), the Royal Concertgebouw Orchestra, the Rotterdam Philharmonic Orchestra, the Radio Filharmonisch Orkest and the Asko/Schönberg ensemble have provided the orchestral forces for DNO productions.

DNO produces on average eleven productions per year. While most performances are in the Dutch National Opera & Ballet building, the company has also performed in the Stadsschouwburg, at the Carré Theatre, and on the Westergasfabriek industrial site in Amsterdam. For many years, the June production has been organized as part of the Holland Festival and includes the participation of the Royal Concertgebouw Orchestra. DNO has lent its productions to foreign companies, such as the Metropolitan Opera, the Brooklyn Academy of Music, the Lincoln Center Festival in New York, as well as the Adelaide Festival in Australia.

Since 1988, the French-Lebanese theatre director Pierre Audi has been the artistic director of DNO. Audi is scheduled to conclude his DNO tenure in 2018. In April 2017, DNO announced the appointment of Sophie de Lint as the company's next artistic director, effective 1 September 2018.

Hartmut Haenchen was chief conductor from 1986 to 1999, in parallel with holding the title of chief conductor of the NPO. He subsequently held the title of principal guest conductor with DNO. Subsequent chief conductors have been Edo de Waart (1999-2004) and Ingo Metzmacher (2005-2008). In March 2009, DNO announced the appointment of Marc Albrecht as the orchestra's next chief conductor, with the 2011-2012 season, for an initial contract of four years. This return to a single chief conductor at both DNO and the NPO/NKO allows for the NPO to become the principal opera orchestra for DNO. Albrecht is scheduled to stand down as chief conductor of DNO at the end of the 2019-2020 season.

Important Info
Type: Opera
City: Amsterdam, Netherlands
Starts at: 18:30
Acts: 3
Intervals: 2
Duration: 4h 15min
Sung in: German
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