MET Opera House building–Lincoln Center/Monday March 27th, 2023.
Welcome back!
This week, friends, welcome back to another MET Opera’s thrilling evening!
And this week, welcome once again to the world of comedy, yet one, in this instance, that is also filled with sophistication, imagination, poetry, romance, eroticism, libertinage, traces of “Ancien Régime” atmosphere, whether from the House of Habsburg (which ruled the Holy Roman Empire and included Austria, Hungary, and much of Central and Eastern Europe), and the House of Bourbon (which ruled France), in addition to a few timeless, “farce-like” situations, set to incredibly beautiful music, so welcome to a philosophical, at times funny, and always entertaining, tale.
Wow!
Welcome to Richard Strauss (1864-1949), and his sparkling, 1911, “Der Rosenkavalier”.
Yay!
Welcome to Strauss’s most popular, erotically charged, light. yet profound, often funny, and always delightful and engaging opera, set in an idealized Habsburg-like aristocratic Vienna, during the mid 18th century, with a libretto by the great author, poet, and theater enthusiast, Hugo von Hofmannsthal (1874-1929) about human behavior in matters of lust, love, wisdom, which can often generate both farcical situations, as well as generosity, kindness, and a philosophical stance: giving up a “boy toy” before he is eventually lured away one day, by a younger rival, to constantly be in charge of one’s own happiness, and also, to allow other youngsters, especially if one of them, is dear to your heart, to experience true love.
Wow!
And we shall admire in “Der Rosenkavalier” not only wonderfully beautiful, romantic, and at times, modern sounding music, including some ballet moments, but also a few fun examples of 17th/18th century aristocratic “living”, in addition to wonderful arias (in particular the last concluding trio).
Yay!
Also, we shall also be wooed, and entertained by a few fictitious inventions, the best one being, the imaginative “noble custom” (the exceptionally poetic presentation of a rose, to a bride to be), and a few Viennese waltz moments, that did not yet exist, all of which, make this opera, truly enchanting and charming, and definitely a plot from a long, long, long time ago.
How about that!
So what is the “Der Rosenkavalier” about?
Strauss’ “Der Rosenkavalier” 3 act operatic masterpiece, is about an aging, married, powerful aristocrat (the Marschallin, Princess Marie-Thérèse von Werdenberg), who realizes that she will soon need to give up her young lover, Octavian, a.k.a Count Rofrano, a.k.a “Quinquin”, a.k.a “Mariandel” the (disguised) chambermaid, before he (Octavian), leaves her one day, and who will indeed (Octavian) then, actually fall fast, as she (Marie-Thérèse) starts dismissing him (Octavian), and of course, for a younger lady (Sophie von Faninal, who is herself engaged to a boorish Baron, the Baron Ochs).
Oh boy.
And the nascent passion between the two youngsters (Sophie and Octavian), will of course, also eventually win, and even be blessed by the aging aristocrat (Marie-Thérèse a.k.a the Marschallin).
How about that!
Yay!
And interestingly, this convoluted, imaginative, and yet potentially realistic “Der Rosenkavalier” plot, was inspired by 2 rich literary works, and perhaps by behaviors from a few historical Habsburg and Bourbon Houses/dynasties: the Habsburgs being one of the chief dynasties of Europe from the 15th to the 20th century. As dukes, archdukes, and emperors, the Habsburgs ruled Austria from 1282 until 1918. They also controlled Hungary and Bohemia (1526–1918) and ruled Spain and the Spanish empire for almost two centuries (1504–06, 1516–1700).
Wow!
The House of Bourbon was one of the Royal Families in France. Its members were all descendants of Louis I, duc de Bourbon from 1327 to 1342, the grandson of the French king Louis IX (who ruled from 1226 to 1270). Furthermore, this house (of Bourbon) provided reigning kings of France from 1589 to 1792 and from 1814 to 1830, after which another Bourbon reigned as king of the French until 1848.
Wow!
This House of Bourbon also provided kings or queens of Spain from 1700 to 1808, from 1814 to 1868, from 1874 to 1931, and since 1975, dukes of Parma from 1731 to 1735, from 1748 to 1802, and from 1847 to 1859, kings of Naples and of Sicily from 1734 to 1808 and of the Two Sicilies from 1816 to 1860; kings of Etruria from 1801 to 1807; and ducal sovereigns of Lucca from 1815 to 1847.
Wow!
And some of these royal figures figures as well as literary works, molded, with unusual flair, the drama and personalities of his “Der Rosenkavalier” opera’s colorful characters, many in disguise, while others show immediately their true colors, whether the aging aristocratic Marschallin Marie-Thérèse, the young count Rofrano, Octavian a.k.a “Mariandel”, the lewd and philandering Baron Ochs, Sophie the bride to be, or the Baron Ochs “hired help” Anina and Valzaccchi, who will work for whomever pays most.
Wow!
The first literary work which inspired “Der Rosenkavalier”, stems from 17th century French playwrite extraordinaire, Molière (1622-1673), and his zany, wacky, eccentric creativity, and a protégé of French king Louis XIV (1638-1715). And in particular, one of Molière’s last works, a comic play called a “comédie-ballet” (1669) “Monsieur de Pourceaugnac”, which is about two young love birds trying to escape an impending wedding, with lots of imaginative “tricks” and “disguises”, is one of the literary inspirations for “Der Rosenkavalier”‘s young love birds and their “allies/hired help”, trying to trick the Baron Ochs into letting them, become an item.
Wow!
The other literary inspiration for Strauss’ “Der Rosenkavalier”, stems from an erotic, libertine, partly autobiographical, 18th century work, from 1787, by another French artist, novelist, playwrite, and journalist, Louvet de Couvray, “Les Amours du chevalier de Faublas”, about a complex and “hot” love story between youngsters (which was also adapted by a contemporary composer of Beethoven (1770-1827) and Rossini (1792-1868), by the great and greatly admired in Europe, Luigi Cherubini (1760-1842) as an opera in 1791, “Lodoïska”). So this, at times, a tad “risqué” Louvet de Couvray novel “Les Amours du chevalier de Faublas” along with the Molière play “Monsieur de Pourceaugnac”, both proved very rich for Strauss and Hofmannsthal, and helped shape the action and erotic atmosphere of “Der Rosenkavalier”‘s plot and relationship between the Maschallin and Octavian, as well as Octavian’s relationship to Sophie especially.
Wow!
And I can’t resist adding a few entertaining words about 17th and 18th century behavior from powerful cunning, and vibrant, European aristocratic rulers, a few called also, believe it or not, Marie-Thérèse, as is in “Der Rosenkavalier”, the powerful and maturing aristocrat (the Marschallin a.k.a. Marie-Thérèse), as well as about a few other men and women of “influence”, again whether rulers (kings, queens, emperors or empresses), married or “mistresses”, and who all, also knew well, the volatile nature of mankind in matters of eroticism, and how (some) men or women could/can be, (not all of course, but a few) regularly tempted by new “mistresses” or “lovers”, especially since it was “tolerated” behavior by society, at the time.
Oh boy.
First let’s talk briefly about 17th century, the Spanish Infanta Maria Theresa of Austria (1638-1683) who was Queen of France from 1660 to 1683 as the wife of Louis XIV (1638-1715), her double first cousin, and king for 72 years from 1643 to his death, (and as mentioned above, king during Molière’s time). Famed for her virtue and piety, Marie Theresa was often neglected by the court, and overshadowed by Louis XIV’s very, very, very many mistresses, the 3 most prominent ones being: first, Louise de La Vallière (1644-1710) a.k.a Mademoiselle de La Vallière), who was the mistress of Louis XIV from 1661 to 1667. Louise was the mother of six of Louis’ children, of whom, two survived infancy. Apart from her skills in various arts and sports, it was La Vallière’s innocence and sincerity that captured Louis XIV.
Wow!
Around 1666-1667, Louis XIV’s serious second (important) mistress was the Marquise de Montespan (1640-1707). In the eternal chess game played by the king’s mistresses, becoming royal favorite meant deposing the current occupant of that role. As a member of the Queen’s household, Françoise Athénaïs de Rochechouart de Mortemart, Marquise de Montespan, first met the King in the early 1660s, but it seems that it took a few years before Louis XIV fell under her spell. In 1674, she definitively ousted Mademoiselle de la Vallière, to become the king’s official mistress. A woman with outstanding “looks”, she quickly established herself as the reigning beauty of the court. The Marquise de Montespan was also much feared by her fellow courtiers on account of the famous Montemart “wit” for which her family was renowned, and held great sway over the royal court. A passionate lover of the arts, and protector of Molière (1622-1673) and La Fontaine (1621-1695), the Marquise de Montespan also enjoyed Louis XIV’s protection and a grand apartment near to his own. They had 7 children together (6 of these children were legitimated by Louis XIV from 1673 onwards), and entrusted their children’s education to the widow of poet Paul Scarron, the future Madame de Maintenon (1635-1719).
Around 1680, the Marquise de Montespan was succeeded by the third and last (important) mistress chosen by Louis XIV: Madame de Maintenon (1635-1719). Serving at first, as governess to Louis XIV’s illegitimate children (with the Marquise de Montespan), away from the prying eyes of the court, following the disgrace of the Marquise de Montespan in a poisoning scandal and the death in 1683, of Queen Maria Teresa of Austria, Madame de Maintenon later, married the king in secret in 1683. Eventually, Madame de Maintenon deposed her rival (the Marquise de Montespan) and became the dominant female force at Versailles, where she imposed a new sense of order and propriety. Madame de Maintenon held a great influence over Louis XIV, who visited her every day in her apartments overlooking the palace’s royal courtyard. He worked here, held meetings with his ministers, and enjoyed moments of tranquillity in the company of his secret wife.
Wow!
Fast forward to the 18th century and to Louis XV, also called Louis the beloved (1710-1774) who succeeded (against all probability, as all in line before him died) in 1715, at the age of 5, his great grand father Louis XIV. Until he reached maturity (then defined as his 13th birthday), in 1723, the kingdom was ruled by his grand-uncle Philippe II, Duke of Orléans, as Regent of France. Louis XV’s reign of almost 59 years (from 1715 to 1774) was the second longest in the history of France (after Louis XIV). In 1725, at age 15, Louis XV married 22-year-old Marie Leszczyńska (1725-1768), daughter of Stanislaw I (1677-1766) twice king of Poland, (from 1704-1709) and then from (1733 to 1736). And from 1727 to 1737, the Queen (Marie), gave Louis XV, believe it or not, 10 children.
Wow!
Louis XV had been very much in love with the Queen Marie, and they were inseparable in the early years of his reign, but as his family grew, and the Queen Marie was constantly pregnant or exhausted by her maternities, he began to look elsewhere to married women close to the court. Louis XV first became attached in 1732, to one of the ladies of the Queen’s court, Louise-Julie de Mailly (1710-1751), very devoted to him and quiet. Without courtship or ceremony, he made her his mistress, and raised her to the rank of Duchess.
Oh boy.
In 1738, Louis XV then turned his attentions to the sister of Louise-Julie, Pauline-Félicité (1712-1741) seeking more court attention than her elder sister. Pauline-Félicité became pregnant in 1740, allegedly by Louis XV, and subsequently died during childbirth. In 1742, Louis XV then made the younger Mailly sister, Marie-Anne (1717-1744), who was named Lady of the Court of the Queen, his mistress, and a month later, Louis XV ordered her older sister Louise-Julie, to leave the Court and to live in Paris.
Oh boy.
Louis XV made his new mistress Marie-Anne, Duchesse de Châteauroux, and Marie-Anne, and believe it or not, introduced Louis XV to yet another sister, I kid you not, Diane (1714-1769) ) and allegedly were both his mistress(es) until 1744, when Louis XV became ill, and renounced for a while, his mistresses.
Oh boy.
Marie-Anne died later that year (allegedly poisoned), and Louis XV returned to Diane, until in 1745.
Oh boy.
As one can imagine, Louis XV relationships with the Mailly sisters became a subject of gossip in the court and in Paris, where a popular comic poem was recited, ending: “Choosing an entire family, is that being unfaithful, or constant”?
Wow!
Interestingly also, since 1742, due to her involvement in Paris salons, as well as her grace and beauty, Louis XV had heard the name of Jeanne-Antoinette Poisson, Marquise de Pompadour, a.k.a. Madame de Pompadour (1721-1764) mentioned at court as early as 1742. In 1744, the Marquise sought to catch the eye of Louis XV while he led the hunt in the forest of Sénart. Because she occupied an estate near this location, she was permitted to follow the royal party at a distance. By 1745, Louis XV made the Marquise de Pompadour his new mistress, which would stay his Chief mistress for 6 years and a “favorite” for the rest of her life: the Marquise de Pompadour became quickly Louis XV’s closest political advisor and confidant. She would meet court members seeking political influence with Louis XV, while applying her makeup in public.
Wow!
After the Pompadour’s death, Louis XV had a few mistresses, and one final chief mistress, Jeanne Bécu, a.k.a Comtesse du Barry (1743-1793), who was thirty-three years younger than Louis XV. She was Louis XV’s official mistress from 1768 to 1774. Her arrival at the French royal court was considered scandalous by some, as she had been a courtesan/prostitute, as well as being a commoner. For these reasons, she was disliked by many. And in order to be Louis XV’s mistress, Jeanne had to be married to someone of high rank so that she could be allowed at court, so Jeanne was hastily married in 1768 to Comte Guillaume du Barry. The Comtesse du Barry then began to hold a salon, which attracted writers and aristocrats. Through her acquaintances with the nobility, she was invited to Versailles, where Louis XV saw her, and was immediately attracted to her. For the Comtesse du Barry to be presented at Court, she had to be formally presented by a member of the nobility. The elderly Comtesse de Béarn was persuaded to make the presentation for a large fee, and she was presented in 1769. None of the ladies of the Court attended.
Oh boy.
Marie-Antoinette, the last French Queen by marriage before the French revolution (1789-1799), or Maria Antonia Josepha Joanna von Österreich-Lothringen (1755-1793) arrived from Austria in Versailles at 14, and married in 1770 the Dauphin (who would become Louis XVI (1754-1793), and reigned upon the death of Louis XV, from 1774 to 1792 (when the French monarchy was abolished). Marie-Antoinette also profoundly disliked the Comtesse du Barry.
Oh boy.
In the last years of his life Louis XV soon installed the Comtesse du Barry, in the Palace of Versailles, and in 1771, gave her the new Pavillon de Louveciennes.
Yet, the Comtesse du Barry was a tremendous triumph at court. She wore extravagant gowns of great proportions both in creation and cost, exhausting the treasury all the more. With diamonds covering her neck and ears, she was now Louis XV’s “maîtresse déclarée”. Due to her new position at court, she made both friends and enemies.
And interestingly, I like to imagine that the Comtesse du Barry’s morning routine, probably inspired in “Der Rosenkavalier”‘s Act 1, the morning routine found in the Marschallin’s bedroom.
How about that?
For the Comtesse du Barry, her morning routine began at 9.a.m, when a morning cup of chocolate would be brought in her room. She would then be dressed in a fine gown of her choice and put on her jewelry. A hairdresser (for special occasions) or (for everyday styles) would come to do her hair in powders and curls. She would then receive friends, dressmakers, jewelers and artists showing off their new stock, hoping she would be interested in buying something of their offers. She was definitely extravagant.
Wow!
Louis XV kept the Comtesse du Barry close to him until the final days before his death in 1774. The Comtesse du Barry was then ultimately executed by guillotine during the French Revolution (1789 to 1799) due to accounts of treason, and as she represented a symbol of the “Old Régime”.
Oh boy.
Let’s now turn to the Habsburgs: Holy Roman Empress Maria Theresa of Austria (1717-1780), a ruler for 40 years (1740-1780) of the Habsburg dominions, sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria, Galicia, Austrian Netherlands and Parma, also since her marriage in 1736 to Francis I (1708-1765), was duchess of Lorraine, Grand duchess of Tuscany, and mother of many children, including Maria Theresa’s youngest daughter, Maria Antonia or later called Marie-Antoinette (1755-1793) who would become the last French Queen, before the French Revolution (1789-1799).
Wow!
Maria Theresa started her reign when her father emperor Charles VI died, in 1740.
Wow!
And Marie-Theresa’s husband, Emperor Francis I, was a serial adulterer. Many of his affairs were well-known and indiscreet, notably one with Princess Maria Wilhelmina of Auersperg (1738-1775), who was thirty years his junior, and a maid-of-honor to the Empress in 1755. The Emperor soon became infatuated with her. He had begun to lose interest in his wife Maria Theresa, who by then, had borne him 16 children.
Oh boy.
And though she was expected to cede power to her husband, Emperor Francis I, Maria Theresa was the absolute sovereign, who ruled with the counsel of her advisers.
Wow!
Maria Theresa’s youngest daughter, Maria Antonia or Marie-Antoinette (1755-1793), as previously mentioned, married in 1770 Louis, Dauphin of France, later called Louis XVI. And when the French showed an interest in her, her mother, Maria Theresa, went about educating Maria Antonia as best she could, about the court of Versailles and the French.
Oh boy.
Marie-Antoinette, or Maria Antonia Josepha Joanna von Österreich-Lothringen (1755-1793)
4 years after her wedding, Marie-Antoinette, at 19, then met Swedish Count Axel von Fersen (1755-1810), at a masked ball in the Royal Opera House at Versailles in 1774. He made a lasting impression on the Queen. The Count moved to Versailles in 1779, and became part of her inner circle. The nature of the relationship between the Queen and the Swedish Count was the subject of much speculation, and allegedly, they were lovers.
Oh boy.
All that to say, that these animated and sparkling historical figures probably also, did help shape Strauss’ “Der Rosenkavalier” characters, and at times, their “libertine” behaviors.
Oh boy.
So let’s get back now, with more details to “Der Rosenkavalier” imaginative and philosophical tale filled with joyful mayhem, silliness, and wisdom.
Let’s discover the powerful, married, and maturing aristocrat, the Marschallin, Princess Marie-Therese von Werderberg, whose husband seems to be away, and who at day break, after having spent the night with her devoted young lover, Octavian, the Count Rofrano, (the Marschellin) starts to realizes that time is flying, and will soon wither her looks, and let’s discover now, what happens to her and Octavian, when she gives up with great elegance, and a touch of melancholy, her Octavian young lover, whom she does still “adore”.
Oh boy.
Let me give you some more details about “Der Rosenkavalier”‘s plot:
Act 1 opens up with the Marschallin, Princess Marie-Thérèse von Werdenberg, in her bedroom, who, as previously mentioned, after having spent the night, in the company of her young lover, Octavian, whom she really enjoys, awakens to an epiphany.
Oh boy.
Even though, she adores her lover, the dashing Octavian/”Quinquin”, she suddenly realizes, that she needs to end soon their relationship, as he will one day, leave her for a younger and prettier woman.
Oh boy.
Suddenly, a visitor is heard, and while her “Octavian” lover hides, and disguises himself as a pretty maid, which the Marschallin calls “Mariandel”, the visitor turns out to be, a cousin of the Marschallin, the lewd, boorish and philandering Baron Ochs, who comes to ask her advice, about which young aristocrat he should choose, to present his wealthy fiancée, Sophie von Faninal, daughter of a wealthy arms dealer Herr von Faninal, with the traditional silver engagement rose. The Marschallin suggests Octavian, who suddenly, emerges from his hiding place, as the pretty maid/lady in waiting “Mariandel”.
Oh boy.
Baron Ochs immediately, starts making advances to “Mariandel”, before “Mariandel” escapes.
Oh boy.
Baron Ochs hires then, two “intriguer” characters (Annina and Valzacchi) to track down the pretty maid/lady in waiting, “Mariandel”, who have come along and among many, to participate to the Marschallin’s “morning levée” (morning routine), filled with a crowd of fashion designers, models, book merchants, pet vendors, and all sorts of other “mercantile” petitioners (evocative to me of the Comtesse du Barry’s own “morning levée”). As the rooms clears, Octavian returns, to declare his love to the Marschallin, who tells him, of her “knowing”, that he will one day find a younger woman, he will want, more than her. A hurt Octavian leaves, to meet Ochs fiancée, and is followed by a page, charged with giving Octavian, the silver rose.
Let’s listen to the beautiful aria, about the Marschallin’s philosophical take on the passage of time, which is inescapable, a melancholic, yet serene, and of course, incredibly gorgeous aria.
Enjoy:
Isn’t it just stunning?
In Act 2, the most romantic scene, arrives!
Yay!
Octavian and the pretty Sophie von Faninal, meet, and of course, happily, fall instantly, deeply, deeply, deeply in love.
Perhaps a tad fast?
Who cares.
Let’s listen to a short excerpt of this charming and moving duet, set to incredibly stunning music during a recent MET opera dress rehearsal.
Enjoy!
So elegant, and contained, I love it.
Octavian and Sophie are shocked by Baron Ochs crude manners, and eventally kiss.
Oh boy.
At one point Octavian draws his sword infuriated by Ochs rudeness, and slightly “grazes” Ochs.
Oh boy.
To prevent the Baron from marrying Sophie, one of the intriguing characters originally working for the Baron Ochs, Annina, (now working for Octavian), will bring to Ochs who is recuperating from his superficial flesh wound, a letter from “Mariandel/Octavian” requesting for a “rendez-vous” for the next evening.
Oh boy.
The Baron is delighted and rejoices at the idea of this upcoming “rendez-vous”.
Oh boy.
In Act 3, we then discover in a brothel, Annina (and Valzacchi) working now both for Octavian, preparing the brothel, for the Baron Och’s “rendez-vous” with “Mariandel”/Octavian.
Oh boy.
Ochs arrives, and then begins his “seduction” of the pretty “maid”. All sorts of fun, slapstick humour and mayhem ensues, and a police commissioner enters, to attempt to restore order. Ochs declares that “Mariandel”/Octavian is his fiancée.
Oh boy.
Then, Sophie, her father, and even the Marschallin, arrive, and Baron Ochs understands that his initial plan to marry Sophie is over, and he exits.
Oh boy.
Octavian, Sophie, and the Marschallin, are left alone, and the Marschallin with kindness and dignity, lets the love birds know, in an incredible trio, that she wishes them, the best possible future, filled with joy and happiness.
Awww.
Let’s finally, listen to a short excerpt of this incredible trio, the most beautiful moment of the opera, to me, that encapsulates that incredibly powerful and inspiring moment of generosity, goodness, and goodwill, between these three characters, who find new, and beautiful ways, of relating to each other.
Wow!
Enjoy!
So beautiful and heartwarming.
Finally, the two lovers are left alone, and can hardly believe, that, finally, a beautiful future, awaits them, together.
Yay!
What a philosophical ending, and well done the Marschallin!
Yay!
What a wonderful epiphany she has had, which will in addition allow (let’s hope for them), true love to really bloom.
Yay!
What to say about the production itself?
That Robert Carsen’ production, set in 1911 (vs the original setting of Vienna 1740’s), was exceptionally elegant, sparkling, dazzling, war-like, and at times also, erotically charged. And I mostly liked it.
I especially enjoyed the “Morning Levée” in Act 1, reminiscent as well of 18th century living, even if set a few centuries later, during a declining Habsburg Empire.
I was impressed by the cannons on stage, in reference to Sophie’s father’ work (an arms dealer).
I wasn’t a huge fan of the Act 2 “war like” wall paper, although striking, to me, distracted too much from one of the most beautiful moments of the opera, when Octavian and Sophie fall in love, during the “Presentation of the rose”.
That’s ok.
On the other hand, I also particularly enjoyed the “ballet” moments that were sophisticated and simple, during all 3 acts (the “morning Levée” and the “presentation of the Rose” especially), and what wonderfully eye-catching ballet choreography, from Philippe Giraudeau.
And what stunning and delightful 1910’s costumes, very “Paul Poiray” by Brigitte Reiffenstuel, for the entire cast, especially the incredibly gorgeous dresses, and sparkling jewelry for the Marschallin and the “fashion show” in Act 1.
Yay!
And finally, I also I must say, I enjoyed the staging of what I imagine an early 20th century brothel would look like in Act 3, including fun theatrical characters reminiscent for some of 1978 Molinaro film “La Cage aux Folles”.
So fun.
Yay!
What to say of the conductor and performers?
That all of them, including the chorus, were, as was the orchestra, beautifully conducted, with great talent and sensitivity, under Simone Young’s masterful baton, including all arias, duets, and the last terrific trio.
Wow!
Bravo!
And four singers, particularly stood out for me:
First, in the role of the Marschallin, Norwegian soprano extraordinaire, Lise Davidsen, was truly amazing. What a lush and powerful sound she has, and I thought she was very moving and depicted beautifully, the lively, playful, elegant, sensual, yet, wise in her years, heroine of this tale, the Marschallin, Princess Marie-Thérèse von Werdenberg, as she must make decisions in matters of happiness for herself and for others.
Bravo!
Second, in the entertaining role of Octavian, Count Rofrano, a.k.a “Quin-quin” and a.k.a “Mariandel”, but mostly the Marschallin’s very young, lustful lover “Octavian”, depicted as a “woman” dressed like a man, to pay homage to Mozart’s Cupid (how fun), Octavian being first, infatuated with the Marschallin, and then, suddenly, truly love struck, by the beautiful, charming and young Sophie, as he presents her with the silver rose gift from her boorish fiancé (Baron Ochs), the expressive American Mezzo-soprano, Samatha Hankey, was wonderful and witty, and what a beautiful voice as well!
Bravo!
Third, as Sophie, a youthful, naive, and lovely heiress, herself “promised”/engaged to be married/ fiancée, to the chilling Baron Ochs, charming, intense and youthful, American soprano, Erin Morley, was terrific: what a great technique and beautiful color, and what a great depiction of a quickly smitten, passionate, and yet reserved young woman.
Bravo!
And finally, I loved charming and full of silly boorishness, Austrian bass, Günther Groissböck, as the sensual, amusing, silly and brutish Baron Ochs fiancé (of Sophie). What a great actor and what expressive and beautiful voice is his. Just stunning.
Bravo!
So, to sum up my feelings, about Richard Strauss’ witty, solemn, philosophical, at times silly, funny, melancholic “Der Rosenkavalier”, filled with some entertaining, light hearted joy, eroticism, farce, ballet and love drama, admired last Monday, at the MET Opera, in great company: what entertaining “Ancien Régime” libertinage meets Molière and Louvet de Couvray literary works, set to incredibly melodious and romantic music, and what truly poetic imagined traditions, and how solemn, yet playful and elegant, is Davidsen as “La Marschallin”, what a passionate “Octavian”, Hankey embodies as well, and what a charming “Sophie”, Morley portrays, and what a wonderfully entertaining and boorish “Baron Ochs”, Groissböck proves to be, and finally, what an imaginative, theatrical, gorgeous, erotic, and engaging 1911 Carsen production, enhancing beautifully, the “awakening” of the Marschallin, who understands in a flash, that ending her private “boy toy” relationship which was always headed for brevity, as it is only linked to her fleeting beauty, will let her achieve more light, joy, peace and happiness, for herself, and let other young love birds, experience true love.
Yay!
Wow!
Bravo!
Just terrific!
And not to be missed!
Until next time friends, in a few weeks, after the Easter vacations!
Yay!
Soft…
Fluttering…
Sunny…
Joyful…
Happy…
Loving…
Eternal butterflies 😊