Metropolitan Opera 4 April 2023 - Der Rosenkavalier | GoComGo.com

Der Rosenkavalier

Metropolitan Opera, New York, USA
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Tuesday 4 April 2023
7 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: New York, USA
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 4h 20min with 2 intervals
Sung in: German
Titles in: English,German,Spanish

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

A dream cast assembles for Strauss’s grand Viennese comedy. Soprano Lise Davidsen is the aging Marschallin, opposite mezzo-soprano Isabel Leonard as her lover Octavian and soprano Erin Morley as Sophie, the beautiful younger woman who steals his heart. Bass Günther Groissböck returns as the churlish Baron Ochs, and Markus Brück is Sophie’s wealthy father, Faninal. Maestro Simone Young takes the Met podium to oversee Robert Carsen’s fin-de-siècle staging.

Set in an idealized Vienna of the past, Strauss’s most popular opera concerns a wise woman of the world who is involved with a much younger lover but ultimately forced to accept the laws of time, giving him up to a pretty young heiress. Hofmannsthal’s fascinating libretto deftly combines comedy, dreamy nostalgic fantasy, genuine human drama, and light but striking touches of philosophy and social commentary. Strauss’s magnificent score, likewise, works on several levels, combining the refinement of Mozart with the epic grandeur of Wagner.

The opera is originally set in Vienna in the 1740s. Genuine historical references are merged with fictitious inventions (like the “noble custom” of the presentation of the silver rose to a fiancée, which never actually existed) and anachronisms (like the Viennese Waltz, which did not yet exist at that time). It’s a mixture that creates a seductive mythical landscape, a ceremonious and impossibly beautiful Vienna-that-never-was. The Met’s current production moves the setting to the last years of the Habsburg Empire.

The score of Der Rosenkavalier is lush, rich, and romantic to an extraordinary degree—perhaps surprisingly so, considering that the composer had written the disturbingly edgy and modern Elektra only two years earlier. The presentation of the rose, with its soaring vocal lines sprinkled with chromatic figures reflecting the shimmering of the silver rose (a motif that reappears with renewed poignancy at the very end) is ravishingly beautiful. And waltzes appear frequently, sometimes bumptious, sometimes elegant.

A co-production of the Metropolitan Opera; Royal Opera House, Covent Garden, London; Teatro Colón, Buenos Aires; and Teatro Regio di Torino

Production a gift of Howard Solomon and Sarah Billinghurst Solomon

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

ACT I

Vienna, during the last years of the Habsburg Empire. The Marschallin, Princess von Werdenberg, has spent the night with her young lover, Octavian, Count Rofrano. He hides when a page brings breakfast, then again when loud voices are heard in the antechamber. The unexpected visitor is the Marschallin’s country cousin, Baron Ochs auf Lerchenau. Bursting into the room, he brags about his amorous conquests and his upcoming marriage to Sophie von Faninal, the young daughter of a wealthy bourgeois. When he asks the Marschallin for advice as to which cavalier could present Sophie with the traditional silver engagement rose, she suggests Octavian—who suddenly, to avoid discovery, emerges from his hiding place disguised as a chambermaid. The baron instantly starts to make advances towards “Mariandel,” who quickly makes her escape as the room fills with the daily crowd of petitioners and salespeople. Among them is a singer, whose aria is cut short by Ochs’s wrangling with a lawyer over Sophie’s dowry. The Baron hires a pair of Italian intriguers, Annina and Valzacchi, to locate the shy servant girl.

When the room is cleared, the Marschallin, appalled by the thought of the rude Ochs marrying the innocent young girl, muses on her own waning youth. The returning Octavian is surprised to find her in a distant and melancholy mood. He passionately declares his love but she can only think about the passing of time and tells him that one day he will leave her for a younger woman. Hurt, he rushes off. The Marschallin tries to call him back, but it is too late. She summons her page and sends Octavian the silver rose.

ACT II

On the morning of her engagement, Sophie excitedly awaits the arrival of the cavalier of the rose. Octavian enters and presents her with the silver rose on behalf of the Baron. Sophie accepts, enraptured, and the two young people feel an instant attraction to each other. When Ochs, whom Sophie has never met, arrives, the girl is shocked by his crude manners. Ochs goes off to discuss the wedding contract with Faninal, and Sophie asks Octavian for help. They end up embracing and are surprised by Annina and Valzacchi, who summon Ochs. The outraged Octavian grazes the Baron’s arm with his rapier and Ochs melodramatically calls for a doctor. In the ensuing confusion, Sophie tells her father that she will not marry the Baron, while Octavian enlists Annina and Valzacchi to participate in an intrigue he is hatching. When Ochs is alone, nursing his wound with a glass of wine, Annina, sent by Octavian, appears with a letter from “Mariandel,” asking Ochs to a rendezvous. Intoxicated with his own charm, the Baron is delighted at the prospect of a tête-à-tête. When he refuses to tip Annina, she determines to get even.

ACT III

At Octavian’s instigation, Annina and Valzacchi prepare the back room of a dingy inn for Ochs’s rendezvous. Before long, the Baron and “Mariandel” arrive for a private supper. As she coyly leads him on, grotesque apparitions pop out of windows and secret panels, terrifying the Baron. Annina, disguised as a widow, runs in crying that Ochs is the father of her many children. When the police appear, Ochs claims that “Mariandel” is his fiancée. The arriving Faninal, furious at his future son-in-law’s behavior, summons Sophie to set matters straight, then faints and is carried off. At the height of the confusion, the Marschallin enters. Octavian takes off his disguise and the Marschallin explains to Ochs that it was all a farce. He finally admits defeat and leaves, pursued by the innkeeper and various other people who all demand payment of their bills. Left alone with Octavian and Sophie, the Marschallin laments that she must lose her lover so soon, but nevertheless accepts the truth. She gives the bewildered Octavian to Sophie and quietly leaves the room. The young lovers realize that their dream has come true.

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

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 4h 20min with 2 intervals
Sung in: German
Titles in: English,German,Spanish
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