Der Rosenkavalier - Richard Strauss - Opéra national de Paris

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der rosenkavalier

Opéra Bastille - from 09 to 31 May 2016

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der rosenkavalier

Opera Richard Strauss

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Opéra Bastille - from 09 to 31 May 2016

4h05 with 2 intervals

Der Rosenkavalier

Comedy for Music in three acts (1911)

In german

Music :

Richard Strauss

Libretto :

Hugo von Hofmannsthal

Conductor :

Philippe Jordan

Director :

Herbert Wernicke

Set design :

Herbert Wernicke

Costume design :

Herbert Wernicke

Lighting design :

Werner Breitenfelder

Chorus master :

José Luis Basso
Paris Opera Orchestra and Chorus
Maîtrise des Hauts-de-Seine / Paris Opera Children's Chorus
Coproduction with the Salzburg Festival

French and English surtitles
Die Feldmarschallin :

Michaela Kaune

9, 12, 15, 18, 22, 25, 28, 31 mai

Der Baron Ochs :

Peter Rose

Octavian :

Daniela Sindram

Stéphanie Houtzeel

Herr Von Faninal :

Martin Gantner

Sophie :

Erin Morley

Marianne Leitmetzerin :

Irmgard Vilsmaier

Valzacchi :

Dietmar Kerschbaum

Annina :

Eve-Maud Hubeaux

Ein Sänger :

Francesco Demuro

Ein Polizeikommissar :

Jan Stáva

Der haushofmeister bei der Feldmarschallin :

Charles Reid

Der haushofmeister bei Faninal :

Peter Galliard

Ein Notar :

Martin Snell

Ein Wirt :

Robert Wörle

Eine Modistin :

Ruzan Mantashyan

Drei adelige Waisen :

Carole Colineau

Laetitia Jeanson

Olga Oussova

Ein Tierhändler :

Emanuel Mendes

Vier lakaien der marschallin :

Chae Hoon Baek

Jian-Hong Zhao

Olivier Fillon

Lucio Prete

Vier kellner :

Hyoung-Min Oh

Christian Rodrigue Moungoungou

Julien Joguet

Frédéric Guieu

Ein Hausknecht :

Laurent Laberdesque

About

In few words:

"Time is a strange thing. As our lives go by , it means absolutely nothing. And then, one fine day, we are aware of nothing else. It is all around us. It trickles over our faces, it trickles over the mirror, it streams between my temples."
- Der Rosenkavalier, Act I

“The Marschallin, Ochs, Octavian, wealthy Faninal and his daughter… it is as if the vital links forged between these characters have existed for a very long time. Today, they no longer belong to me, nor to the composer. They belong to the bizarrely lit, ever-shifting world of the theatre where they have survived for a certain time and may well continue to do so for some time to come.” Herbert Wernicke's vision appropriates and builds on this evocation of Der Rosenkavalier by its librettist, Hugo von Hofmannsthal.

One of the major stage directors of the last quarter of the 20th century, who died before his time, Wernicke took pains over even the most minute elements of his productions. Born out of a theatrical reflection with an uncompromising approach to tradition, his breath-taking sets are first and foremost an extraordinary theatrical machine where illusion lends itself to illusion in an infinite game of mirrors in a twilight Vienna of deceptive rococo reflections: each character donning a mask, whether out of self-importance, naivety or coquetry. Would the Marschallin still gaze into the mirror if the only thing she saw were the marks of passing time? After an eleven-year absence, Anja Harteros returns to the Paris Opera in one of the finest roles in the repertoire, under the baton of conductor Philippe Jordan.

Representations

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