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    Der Rosenkavalier

    Richard Strauss 

    Krzystof Warlikowski shares his vision for Der Rosenkavalier, a key work in Richard Strauss’s œuvre and in early twentieth-century opera repertoire

    Photo de Marlis Petersen © Y. Mavropoulos, Marina Viotti © C. Doutre, Regula Mühlemann © S. Suarez
    Marlis Petersen © Y. Mavropoulos, Marina Viotti © C. Doutre, Regula Mühlemann © S. Suarez
    Photos de Henrik Nánási © Henry Fair, Krzysztof Warlikowski © Maurycy Stankiewicz
    Henrik Nánási © Henry Fair, Krzysztof Warlikowski © Maurycy Stankiewicz

    Henrik Nánási | direction
    Krzysztof Warlikowski | staging 
    Małgorzata Szczęśniak | scenography, costumes 
    Claude Bardouil | choreography 
    Felice Ross | lights 
    Kamil Polak | video

    Marlis Petersen | The Marschallin
    Marina Viotti | Octavian
    Regula Mühlemann | Sophie
    Peter Rose | Baron Ochs auf Lerchenau
    Jean-Sébastien Bou | Herr von Faninal
    Eléonore Pancrazi | Annina
    Krešimir Špicer | Valzacchi
    Francesco Demuro | An Italian singer
    Laurène Paternò | Marianne
    Florent Karrer | A police inspector / A notary
    François Piolino | The Marschallin's Major-Domo / Faninal's Major-Domo 
    Yoann Le Lan | An innkeeper

    Orchestre National de France
    Chœur Unikanti, Maîtrise des Hauts-de-Seine | direction Gaël Darchen

    Although we know that Gabriel Astruc originally intended to present Der Rosenkavalier at the opening season of the Théâtre in 1913, it fell foul of the founder’s lavishly expensive programming and he was ultimately forced to abandon the idea. It was not performed until 1937, by the Berlin Opera conducted by Clemens Kraus and featuring Viorica Ursuleac, one of the composer’s favourite singers, as the Marchioness. This work marked a turning point in Strauss’s career. After the “odysseys and rages” of Salome and Elektra, Der Rosenkavalier was return to the Viennese tradition of character opera. Originally, the Marchioness, whom Octavian deserted in favour of Sophie, only had a small role, but it gradually expanded into such a major part that she is present throughout Act One and dominates the entire opera, even in her absence. There has been a shift from the light-hearted comedy of manners to a meditation on time and the ephemeral nature of feelings. Der Rosenkavalier embodies the moral disarray of an era which was drawing to a close behind the superficial smiles and impeccable manners. A few decades later, Capriccio would adopt the same nostalgic approach to the eighteenth century, which was the musician’s Olympus. Krzysztof Warlikowski is sure to bring his unique dramatic vision to this masterpiece of twentieth-century opera repertoire and the Orchestre National de France under the baton of Henrik Nánási will do full credit to Strauss’s sumptuous colours.

    Production Théâtre des Champs-Elysées
    Avec le soutien d’Aline Foriel-Destezet, Grand Mécène de la saison artistique du Théâtre des Champs-Elysées
    France Musique enregistre cet opéra