It is often said that one must sit through about three hours of music in Der Rosenkavalier before the highpoint of the opera: the final trio of two sopranos and a mezzo in one of the most sublime pieces of music ever written. Richard Strauss considered this trio to be his finest creation and requested that it be performed at his funeral, which it was. A dull performances of the opera could be a long evening filled with a lot of notes and words until the final few minutes of sheer bliss. In the case of this revival of Otto Schenk’s very traditional production in Munich, the music-making and singing was of such high quality that the final trio was a culmination, albeit glorious, of an evening that seemed to fly by, despite the entire performance lasting close to five hours, including two intervals.
Conductor Constantin Trinks deserved the loud ovation he and his orchestra received at curtain call, as he led a spirited, dynamic, at times a bit too loud, but also sensitive and delicate reading of the music. The orchestra clearly relished an opportunity to play Strauss’s music with all its fine details, and many members seemed to enjoy the experience as they were seen applauding the singers at curtain call. It is this sense of joy of collaborating on the presentation of the classic composed by the native son that comes through most clearly; the audience is secure in the knowledge that the production holds no surprise, and that they just need to sit back and enjoy the musical experience.
Soile Isokoski made her concert debut in 1986 as stated in the programme notes, so she, as the Marschallin, has been around. She may not be the most glamorous soprano, but her Act I portrayal of a married woman enjoying the company of a young lover is charming and attractive. Her elegant soprano conveys the sense of maturity as well as coyness, and her vocal interaction with her country bumpkin cousin Baron Ochs was witty and authoritative at the same time. Her mid-act transformation from a cheerful woman of the world to a gloomy one acutely aware of her mortality and loneliness was magically accomplished through seemingly sudden changes of colour in the orchestra as the jovial, chaotic and mundane daily affairs of the palace give way to profound discourse on life and its futility. The shift comes as a surprise, seemingly, and sweeps one into the Marschallin’s emotional world. I have rarely witnessed such a magnificent portrayal of the Marschallin; Isokoski’s subtle singing conveyed every emotional nuance; many of us were in tears during her monologue and her subsequent encounter with Octavian. One senses acutely that their relationship is coming to an end as the two lovers part, even before another young woman appears on scene to steal the young Octavian's heart.
I have experienced Peter Rose’s Baron Ochs a number of times at the Met, but have rarely enjoyed his singing and portrayal more than this evening. He was in excellent voice, and went through the now familiar gestures and movements of the Baron of the Schenk production with ease. He nearly stole the show with his hilarious acting, especially in the second act, and received a huge ovation from the audience.