Richard Strauss' first comic opera, Der Rosenkavalier, premiered in 1911 and was inspired by the style of Mozart's opera buffa. Beneath the deceptions, disguises and coarse humour, Hugo von Hofmannsthal's libretto offers profound philosophical reflections, interwoven with a sense of melancholy and nostalgia. The story, set around the 1740s, evokes a longing for a bygone Vienna.
In his production originally seen at the 2014 Salzburg Festival, director Harry Kupfer relocates the setting to early 20th century, as suggested by the Jugendstil décor in the sets. This choice adds a new layer of nostalgia, evoking the memory of "Felix Austria" on the brink of World War 1 and the vision of a Mitteleuropa that would be shattered by two world wars – a sentiment that resonates almost perfectly with the spirit of the work.
Hans Schavernoch’s set designs feature mostly minimalistic scenes in the first two acts, enhanced by large projected photographs used as backdrops. These images often depict architectural details of the Hofburg, both interior and exterior, captured from dramatic angles. While natural scenes are used more sparingly, they serve to underscore specific moods in the text.
The visuals are stunning, with the immense, high-definition images – almost entirely in black and white – creating a sense of grandeur without distracting from the action. They have a remarkable 3D quality, adding depth. Even clichés, such as a row of winter trees shrouded in fog during the Marschallin’s reflections on the passage of time, are rendered beautifully. The direction was meticulous, with the cast fully embracing Kupfer’s vision.
Making his much-anticipated opera debut at La Scala, Kirill Petrenko did not disappoint, exceeding even the highest expectations. His collaboration with the exceptional La Scala orchestra was nothing short of extraordinary, captivating the audience with a stunning array of tonal colours, unyielding intensity and meticulous attention to detail. The opera's prelude, often regarded as the most famous musical depiction of sexual passion, was performed with breathtaking intensity, featuring bold brass tones beautifully balanced by the most sensual string sound.
In Act 2, during the Presentation of the Rose, the orchestral sound took on an ethereal, transparent quality, with the rose motif sounding more mysterious and enchanting than ever before. Petrenko’s triumph was absolute: his debut left a lasting impression, and we can only hope to hear him again in Milan in future seasons.
The cast rose to the occasion, matching the superb quality of the orchestral performance. Krassimira Stoyanova's soprano was supple and rich, with radiant high notes and flawless legato. She embodied the Marschallin completely, capturing every nuance of the character, from the playful and effervescent intimacy with her young lover, Octavian, to her profound philosophical reflections.
The Marschallin’s decision to allow Octavian go and embrace his young lover Sophie emerged not as a sacrifice, but as a result of a deep, insightful understanding of reality. Yet, this did not render Stoyanova’s Marschallin distant, as can sometimes be the case; her warmth and open-heartedness shone through in every phrase and note. Her final “Ja, ja” was truly a gem.
Kate Lindsey’s Octavian was brought to life with a smooth, bronzed mezzo and secure high notes, capturing all the youthful passion of the young Count. Her breath control was impressive, as was her stage presence; it is rare to see a female performer so convincingly embody a young man. However, her interpretation leaned somewhat towards a one-dimensional portrayal, emphasising Octavian’s impetuous nature while leaving his vulnerability and tenderness less fully explored.
Günther Groissböck is a veteran Baron Ochs and performed it with confidence and a smooth, booming bass. Traditionally, Ochs is portrayed as a comic figure, exaggerated in his philandering, but ultimately harmless. In this production, Kupfer chooses to emphasise his true nature and Groissböck followed suit, portraying a crass, predatory, arrogant Baron, who delights in molesting very young women; Sophie is 15, and Ochs says he finds her refusals erotically appealing. Groissböck's performance was spot on.
Sophie was portrayed by Sabine Devieilhe, whose silvery high soprano blended seamlessly with the celesta and glockenspiel in the “silver rose” theme, adding yet another magical instrument to the score. Devieilhe's Sophie exuded both naïveté and exuberance, embodying a blend of dignity and vulnerability. Her duets with Lindsey were truly enchanting.
Piero Pretti delivered a delightful performance as the Italian Singer, showcasing his high, perfectly projected tenor in a small yet challenging role. Notably, he was the only one in 18th-century costume. The other numerous characters were sung with remarkable skill; I’d like to highlight Caroline Wenborne as a spirited Marianne, whose smooth mezzo was impressive, as well as Gerhard Siegel and Tanja Ariane Baumgartner as the Italian couple Valzacchi and Annina, both of whom demonstrated excellent comic timing and beautiful voices.
