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Thanks, we too love the opera-we pretty much like almost all Strauss operas. Any thoughts on what Carsen says about his update? Regards, LenBeckmesser wrote:I never miss an opportunity to hear Der Rosenkavalier which is on my list of ten favorite operas. We already have our tickets.
Setting the opera in the early 20th century (around the time it was composed) doesn't seem too strange to me. At least there won't be any Nazis on the stage, a concept that has become a regie cliche these days.lennygoran wrote:Thanks, we too love the opera-we pretty much like almost all Strauss operas. Any thoughts on what Carsen says about his update? Regards, LenBeckmesser wrote:I never miss an opportunity to hear Der Rosenkavalier which is on my list of ten favorite operas. We already have our tickets.
The set design seems quite conventional, although I shall miss the old Merrill-O'Hearn production which I have seen many times since I first saw it in Minneapolis during the Met's spring tour back in 1969. The sets have been looking rather tatty lately so they needed to be replaced.
We live in hope.
BTW here's a piece that Zachary Woolfe wrote about it in 2013.
I love the opera (and Strauss in general) but I won't be going, as this cast does not seem interesting to me. I decided to wait until they redo it next season with someone other than Fleming - it's too late for her to even think about singing Die Marschallin. I so wish the Met would offer the part to Stoyanova, and Marianne Crebassa would make a very convincing Octavian, imho. Maybe it's not even too late for Miah Persson to sing Sophie. Now, that's a cast I'd run to hear!
Well if we don't go to see it live we'll probably catch the May 13 HD style at the Rockaway Mall. Regards, LenLen_Z wrote:I love the opera (and Strauss in general) but I won't be going, as this cast does not seem interesting to me.
Say what?! The Marschallin is a mature woman, many of the great singers of the role continued to sing it into their 50s, and Fleming neither looks nor sounds her age. I'm looking forward to this, her last appearances on the stage; too bad that James Levine had to withdraw.Len_Z wrote:I decided to wait until they redo it next season with someone other than Fleming - it's too late for her to even think about singing Die Marschallin.
Wow, I wasn't aware of this but googling what you say seems to be the case! OTOH in the past Fleming has always looked younger to me than her actual age-she really looked so much younger in Onegin but I guess eventually age can catch up with you. Found a set of statements that interested me--number 3 gets to your point. Regards, LenLen_Z wrote:If I am not mistaken, the Marschallin is 32 years of age. Mature? Maybe. A senior citizen? Hardly:)
10 Interesting Facts About Der Rosenkavalier
Sometimes it's the elevator rides to work that are the most valuable. Like the other day when riding up to the Aria Serious Tower we asked Dr. Nic:
"Hey, you want to give us five interesting facts about Der Rosenkavalier to share with the press?"
"Sure," Nic said.
Being an overachiever, he gave us ten. And they're so good we decided to share them with you.
1.) In a bit of theatrical gender-bending unusual for 1911, the role of Count Octavian (a 17-year old boy) is played by a mezzo soprano. At one point in Act I ‘he’ becomes a ‘she’ again by disguising himself as a maid in order to avoid being caught in the Marschallin’s bedroom: a woman playing a man playing a woman! Victor/Victoria anyone?
2.) The entire three-and-a-half minute Prelude to Der Rosenkavalier is a rather specific musical depiction of the Marschallin and Octavian making love.
3.) Der Rosenkavalier is not an opera about a woman who’s concerned about aging. The Marschallin is only 32, after all. The opera is actually about ‘letting go’ in as graceful a manner as possible.
4.) The presence of the Viennese waltz in the score is anachronistic: there was no such thing in Vienna during the 18th century, the period of the opera’s story.
5.) Every time you hear a waltz in the score of Rosenkavalier, you can be sure that someone on stage is lying to someone else or disguising their identity, a wonderful bit of musical symbolism.
6.) Soprano Lotte Lehman is famous for having sung all three of the principal roles in Der Rosenkavalier: Sophie, Octavian and most famously, the Marschallin. No, she never sang Baron Ochs.
7.) Strauss encouraged his librettist, Hugo von Hoffmannsthal, to make Der Rosenkavalier a true comedy. The Bavarian Strauss wanted the audience to “guffaw”, not just chuckle politely.
8.) Der Rosenkavalier was so popular at its Dresden premiere that “Rosenkavalier” trains were specially arranged to transport whole audiences from Berlin, a journey of 90 miles.
9.) The stage director of the first production of Der Rosenkavalier was Max Reinhardt, one of the great geniuses of 20th century theatre. His first Hollywood film, A Midsummer Night’s Dream, starred Mickey Rooney.
10.) The original 1911 cast made a recording of excerpts from the opera under the supervision of the composer.
Not bad for an elevator ride.
http://ariaserious.blogspot.com/2011/03 ... t-der.html
So what? It's not the age of the character but the age of its singers that you've made an issue here. Should Octavian and Sophie then be sung by teen-agers? As I said, the role has often been taken by great singers in their 50s with no complaints - to the contrary, their understanding of the character has deepened with time and experience.Len_Z wrote:If I am not mistaken, the Marschallin is 32 years of age. Mature? Maybe. A senior citizen? Hardly:)
Since the Marschallin's age has been brought up, Strauss wrote that she "must be a beautiful young woman of not more than 32 years of age," then said to Lotte Lehmann that she should be "a woman of 35 - between ages"; there's to be nothing Oedipal in the relationship with Octavian. However, what she sings suggests a maturity beyond her years, as in the 18th century when lives were shorter and marriages earlier. The original Marschallin, Margarethe Siems, sang the premiere when she was about 32, though she continued to sing it until her retirement from the stage at age 46; Strauss did not protest. (The original Sophie, Minnie Nast, was 5 years older than Siems.) It's only recently, when opera directors starting with Herbert von Karajan seem to care more about a singer's looks than her/his singing, that it's become an issue - and not just in "Der Rosenkavalier."
Strauss also said of the close of Act 1, 30 years later in 1942, the Marschallin should play it "without the slightest trace of sentimentality, nor like a tragic farewell to life, but instead with Viennese lightness and grace throughout, one eye wet, the other dry." As Norman Del Mar comments, this is "hard to reconcile his judgment in old age with his intention when writing the opera. The end of Act 1 remains one of the most affecting scenes in the operatic repertoire." Elisabeth Schwarzkopf used to bury her head in her hands as if in despair; Lisa Della Casa, whom I saw a couple of weeks later, looked at herself in a hand mirror, then turned her face to the audience with a look of wonderment or perhaps realization. Both fit the music, in which we hear the Marschallin's thoughts of Octavian in a slow, idealized reminiscence of his theme (which opens the prelude and the opera) high in the solo violin. Call me sentimental, but I always find this very moving.
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