Cookie-Einstellungen

Dieses Tool hilft Ihnen bei der Auswahl und Deaktivierung verschiedener Tags / Tracker / Analysetools, die auf dieser Website verwendet werden.

Essentiell
Funktional
Marketing
Statistik

Der Rosenkavalier

Music Richard Strauss Text Hugo von Hofmannsthal
→ Komödie für Musik in drei Akten

26. December 2022
Monday
2 intermissions
Buy tickets

Cast 26.12.2022

Musical Direction Philippe Jordan
Production Otto Schenk
Stage Design Rudolf Heinrich
Costume Design Erni Kniepert
Feldmarschallin Krassimira Stoyanova
Baron Ochs auf Lerchenau Günther Groissböck
Octavian Kate Lindsey
Herr von Faninal Adrian Eröd
Sophie Vera-Lotte Boecker
Ein Sänger Angel Romero

Details

The Marschallin’s bedroom. The morning sunlight is gradually dispelling the memories of a night of love, and Count Octavian is just taking his leave of the Marschallin when a commotion outside heralds the arrival of an uninvited guest. lt can’t be the Marschallin’s husband because he is miles away shooting bears. It is a distant cousin of the Marschallin’s Baron Ochs auf Lerchenau, and he refuses to be put off by the Marschallin’s servants. Octavian had lost no time in making himself scarce, and now reappears dressed as a girl. The Marschallin tells Ochs it is her maid Mariandl, and Ochs, who is by no means fastidious in these matters, finds her bewitching. But for the time being he has more important matters to attend to: he is hoping to marry the daughter of the newly ennobled and wealthy nobleman von Faninal, and has come to ask the Marschallin to recom- mend him someone to act as the bearer of the silver rose which custom decrees a nobleman must send his bride. On a sudden impulse the Marschallin suggests Octavian. Now it is the Marschallin’s hour for receiving callers, and all sorts of people come crowding into her boudoir – people who have something to sell, peo- ple with a grievance, the usual intriguers, and a lawyer, who is promptly collared by Ochs. While the Marschallin is dressing and having her hair done, an Italian tenor performs. But after they have all gone she sinks into a reverie: she knows the way of the world and is well aware that one day she will lose Octavian. And when Octavian, now back in his own clothes, comes to take his leave she is still in pensive mood, but Octavian is too young to understand. He departs, and the Marschallin leaves her attempt to call him back till too late. So the silver rose has to be sent round to him.

Noble von Faninal’s house is a hive of activity: the bearer of the silver rose is expected at any moment, to be followed later by Baron Ochs himself; a great honour for the nouveauriche Faninal, who hopes his daughter’s marriage will smooth his entrée into high society. For his daughter Sophie, very young and ingénue, it is the great day of her life. And when the radiant Octavian appears with the silver rose Sophie is treading an air, only to be brought down to earth with a bump by the arrival of the uncouth Ochs, who immediately puts himself out of court with his boorish innuendos. Of all this Ochs himself is blissfully unaware: it never occurs to him that what Sophie thinks is of any importance, let alone the preten- tious Faninal. Left alone for a time, Octavian and Sophie realize that it is a case of love at first sight, but their tête-à-tête is brusquely interrupted by Valzacchi and Annina, a scheming pair in the Baron’s pay. Ochs is fetched, but at first makes light of the matter: it is only when Octavian manages to blurt out that Sophie refuses to marry Ochs for the simple reason that she doesn’t like him that Ochs is moved to draw his sword and in the ensuing fight receives a scratch an the arm from Octavian’s blade. Ochs makes a tremendous fuss, as if he were bleeding to death, but after being tended by his minions soon recovers his old self-confidence, especially when Annina brings him a note signed Mariandl suggesting a rendez-vous at a local inn. Ochs falls headlong into the trapin waltz-time.

On the instructions of Valzacchi and Annina, who have now gone over to Octavian because Ochs didn’t pay them, the staff of the local inn are busy preparing a private room for Ochs’ discomfiture. No sooner have their plans been given a final run-through than Ochs appears with Mariandl. In high spirits the conducts her to their table and wastes little time before getting down to some crude advances. Now the well-laid plans are brought into operation: weird faces pop up through trap doors and windows, and Annina appears in widow’s weeds with a bevy of children who dance round Ochs crying »Papa, Papa!« In desperation Ochs calls the police, but this only makes matters worse: what is Ochs doing here, asks the Commissioner, with Mariandl, who is under age? Ochs’ feeble excuses cut no ice with Faninal either. Meanwhile Mariandl takes the Commissioner aside and revals her identity. At last Ochs perceives the uncanny resemblance between Octavian and Mariandl, and when the arrival of the Marschallin puts an end to the questioning he understands a lot more beside. The best thing he can do is get away as quickly as possible. And now it is as the Marschallin said it would be: with dignity and magnanimity she gives Octavian up and slips out unnoticed by the radiantly happy Octavian and Sophie.

Sponsor

This production is sponsored by

​​​​​​​