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03/12/2015
Richard Strauss: Der Rosenkavalier, opus 59
Krassimira Stoyanova (Die Feldmarschallin Fürstin Werdenberg), Sophie Koch (Octavian), Mojca Erdmann (Sophie), Silvana Dussmann (Jungfer Marianne Leitmetzerin), Wiebke Lehmkuhl (Annina), Günther Groissböck (Der Baron Ochs auf Lerchenau), Adrian Eröd (Herr von Faninal), Rudolf Schasching (Valzacchi), Stefan Pop (Ein Sänger), Tobias Kehrer (Ein Polizeikommissar), Martin Piskorski (Der Haushofmeister bei Faninal), Franz Supper (Der Haushofmeister bei der Feldmarschallin), Dirk Aleschus (Ein Notar), Roman Sadnik (Ein Wirt), Andreja Zidaric, Phoebe Haines, Idunnu Münch (Drei adelige Waisen), Alexandra Flood (Eine Modistin), Franz Gürtelschmied (Ein Tierhändler), Rupert Grössinger (Leopold), Konzertvereinigung Wiener Staatsopernchor, Ernst Raffelsberger (préparation), Salzburger Festspiele und Theater Kinderchor, Wolfgang Götz (préparation), Wiener Philharmoniker, Franz Welser-Möst (conductor), Harry Kupfer (stage director), Hans Schavernoch (set desginer), Yan Tax (costume desginer), Jürgen Hoffmann (lighting designer), Thomas Reimer (video designer), Brian Large (video director)
Recorded live at the Grosses Festspielhaus, Salzburg (August 8-14, 2014) – 214’
C Major Blu-ray disc 719404 (or 2 DVDs 719308) – Subtitles in German, English, French, Spanish, Chinese, Japanese, and Korean – Booklet notes in English, German and French








While total and absolute perfection eludes this production - as it arguably does of any production of a lengthy, complex opera - there is more than enough in this disc to justify giving it the highest rating.


The stage director is Harry Kupfer who headed Berlin’s Komische Oper for 21 years (1982-2002) following precepts established by Walter Felsenstein, who is regarded as the originator of present-day directorial innovations, so many of which are controversial. The Salzburg Festival’s 2004 production under Robert Carsen featured nudity (male!) but there’s nothing that sensational here, although Baron Ochs is given a rather suggestive moment with a cushion. The stress here is more on personenregie rather than intrusive konzept. This production manages to give an epic sweep to the setting (the background consisting of shifting views of Vienna) while there is an absorbing amount of telling detail in close-up interactions. One wonders whether all this detail played well in the large theatre.


One innovation (although not unique to this production) is to set it in the 1920s. This renders a few royal references anachronistic but what comes across for me is that the sense of aristocratic entitlement that permeates the work is shown to persist despite the fact that the characters live in the post-imperial era. The shifting backgrounds courtesy of designer (and long-time Kupfer collaborator) Hans Schavernoch might have been a distraction in the Grosses Festspielhaus with its freakishly wide stage, but on film the frequent changes add interest to the lengthy acts.


Richard Strauss was one of the founders of the Salzburg Festival and it comes as a surprise that this production was their first Der Rosenkavalier without cuts. The main difference from usual practice occurs in Act I when Baron Ochs is allowed to go on at tedious length about his non-stop randiness. This helps counter the fact that the role is performed not by the usual paunchy middle-aged singer but by Günther Groissböck, a virile-looking barihunk (or bassohunk in his case) - and since his looks aren’t against him as in the usual portrayal it is necessary to emphasize his loutishness. We also see that, despite his boorishness, the Marschallin maintains an air of bemused indulgence toward him. Groissböck’s energetic performance comes close to stealing the show and he is the only singer given a solo curtain call at the end of Act II.


It seems that everyone acquainted with this work has a favourite Marschallin and thus very definite ideas as to how it should be sung. The camera puts the performer under a microscope and Krassimira Stoyanova comes through with flying colours. And speaking of flying colours, Sophie Koch is one of the resolute standard-bearers for the title role and shows us just why. Mojca Erdmann is a winsome Sophie and they even found a Faninal, Adrian Eröd, who bears a family resemblance. The numerous smaller roles are also well sung; a standout here is tenor Martin Piskorski as Faninal’s majordomo.


The Vienna Philharmonic under Franz Welser-Möst delivers its trade-mark sumptuous tone combined with buoyancy and suppleness. The production with most of the same cast will be repeated at the 2015 Salzburg Festival.


Michael Johnson

 

 

 

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