Local | Der Rosenkavalier in Stockholm

By on September 22, 2015

A young cast directed by Christof Loy. Eight performances from September 26 to November 2.

The triumph of Der Rosenkavalier started with a great public interest and – as a result – special trains from Berlin to the premiere in Dresden in 1911. The success continued with performances throughout the opera world, including the Royal Swedish Opera where it has been on the repertoire since the 1920s.

On September 26 it is time for a new staging – now by a German-speaking team headed by master director Christof Loy with a young world class soloist ensemble (Malin Byström as Marschallin and Christof Fischesser as Ochs, among others) together with the Royal Opera Chorus and Orchestra under the direction of chief conductor Lawrence Renes.

Christof Loy:

– Ich bin besonders froh, dass wir in Stockholm eine junge Besetzung haben. Dadurch wird die Gefahr umlaufen, aus der Marschallin eine resignative Figur zu machen. Im Gegenteil möchte ich von einer Frau erzählen, die über Octavian zum ersten Mal genötigt wird, über sich und die Gesellschaft nachzudenken. Und ganz bestimmt wird er nicht ihre letzte Affaire sein. Genauso hat Strauss selbst es ja auch formuliert.

The opera’s clever use of disguises, belonging to the tradition of comedy errors’ make it possible to dissolve strict social hierarchy and create free, liberal zones, says Loy.

Der Rosenkavalier reflects time and echoes of different ages, cleverly shown in the set by Dirk Becker and costumes by Barbara Drohsin: the music pivots between 1700s pastiche, Viennese waltzes from the 1800s and contemporary late romantic harmonies, by incident, set the model for Hollywood film music!

Although the opera from the beginning was named after the male protagonist Ochs von Lerchenau, it becomes clear at the end when the three female protagonists sing their famous Terzett that Der Rosenkavalier is an opera where only the women can tell their story to the end.

Culture & Music | Local