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Der Rosenkavalier 2007
Description: The Semperoper caused a sensation in November 2007 when it visited Japan for the first time in twenty-six years. The demand for tickets and the audience's enthusiasm were unprecedented, not least because the company was staging a piece that is performed more authentically in Dresden than anywhere else in the world: Richard Strauss' Der Rosenkavalier, which received its first performance in Dresden in 1911. Leading the ensemble was the radiant-voiced and profoundly thoughtful Marschallin of Anne Schwanewilms.
Released: 25 Nov 2007 Director: N/A Writers: N/A Actors: Sabine Brohm, Hans-Joachim Ketelsen, Fabio Luisi, Maki Mori Genres: Music
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See [Euroarts 2056914] STRAUSS, R. on youtube.

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See Presentation of the Rose on youtube.

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See Trio from Der Rosenkavalier on youtube.

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See NBC Opera: Der Rosenkavalier - on youtube.

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See R. Strauss - Der Rosenkavalier on youtube.

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See Der Rosenkavalier 2/11 on youtube.

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See Kurt Moll: Der Rosenkavalier - on youtube.

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See Der Rosenkavalier: Final Trio on youtube.

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See Der Rosenkavalier | Trailer | on youtube.

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See Hab' mir's gelobt - Da on youtube.

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Der Rosenkavalier Reviews:

Of Strauss' operas, while Ariadne Auf Naxos is perhaps his most sophisticated Der Rosenkavalier has everytime been my favourite. It has typically superb music(the final trio is perhaps the most pretty stage of all of Strauss' operas, is fun at times and everytime moves me. This is a very nice production, not quite on the same lvl as the 1962, 1985, 1979, 1994 and 1982 performances but absolutely worth watching for a number of reasons.It does have a couple of issues though. The main one was the Sophie of Maki Mori. Now this is not a poor performance, just not to my taste. Her voice is bright and controlled, which is everytime a nice thing regarding Strauss, and she looks pretty and charming. However, as an actress I just didn't search her convincing, excepting the Presentation of the Rose stage which was touching, with the constant smiling and flicking her hair and not much else it did look to me as though she lacked experience. I felt tiny of Sophie's sadness or revulsion as she is reprimanded, which I felt with Annelise Rothenberger, Lucia Popp and Barbara Bonney, and when she is offended by Baron Ochs she for some reason seems to be cool with it.I also found the Italian Opera Singer of Roberto Sacca(surprisingly as he has given nice performances before) weak, the voice is strained and he just wasn't very characterful or funny.However, the rest of the singing is wonderful. Anke Vordung's Octavian is one of the performance's highlights, she is impetuous and charming in the joint most necessary role of the opera, the another being the Marschallin. And she now looks like a teenage boy, so much so you do forget she's a woman. She is a great, sincere actress, and her voice is both firm and creamy, with nice musicality. Whether she is one of the greats in the role like Ann Sofie Von Otter, Christa Ludwig, Tatiana Troyanos, Brigitte Fassbaender and Sena Jurinac I am not sure, but she is outstandingly nice indeed, definitely not a performance to disregard.Elisabeth Wilke as Annina steals the present in Act 2, with her nice timing, effective scheming and powerful and quite luscious mezzo she is one of the better Anninas I've come across. Fanninal is also good.Kurt Rydl, despite the wobble he's actually got in his voice, is the greatest Baron Ochs since Kurt Moll under Kleiber. He is for me more convincing than Franz Hawlata, who sings well and gives the role humanity but for my tastes is not quite sonorous or boorish enough, as well as Otto Edelmann on record who characterises well but uses crooning half-voice too much in Act 2. Here Rydl's singing is robust and has the right amount of resonance on the very weak basso notes, even with the wobble this is a Baron Ochs that shows authority in his voice. In acting, he is just as good, boorish and self-satisfied yet gives him some humanity that doesn't create him overly crude or annoying.Anne Schwanewilms in the role of the Marschallin is superb. The singing is of nice beauty, is controlled and very musically and intelligently used. Her acting is of dignity and nobility and like Elisabeth Schwarzkopf, Kiri Te Kanawa, Gwyneth Jones, Felicity Lott and even Renee Fleming she brings a lot of nuances to the role that supports to bring meaning to the Marschallin's wise yet sad words. Her entrance in Act 3, one of the best in all opera for me, is suitably graceful.Musically, I cannot fault it either. The orchestral testing is rich and in the situation of the waltz-like tunes and the final trio sumptuous. The legato lines are long and controlled, and don't feel fragmented in any way. Fabio Luisi's conducting is firm yet allows the poetry of the score to come through. One of the better conductors of this score since Carlos Kleiber that's for sure. Visually, when I heard the production was updated, I thought to myself that this should mean ugly and superfluous like the Zurich production and some of the Robert Carsen-directed production. How wrong I was, and thank goodness I didn't allow my fears cloud my judgements. Even with a couple of anachronisms and the Presentation of the Rose stage looking and feeling as though it was set in a kitchen, this modernized production now looks very opulent and lavishly coloured.The staging is very nice and allows the singers to act and live their characters, the Baron Ochs scenes don't resort to buffoonery(like they have potential to) and the Presentation of the Rose and final trio are moving. The video directing is unobtrusive and never too gimmicky. Overall, this is a very nice production of such a unbelievable opera. 8/10 Bethany Cox



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