Oper

Richard Strauss

Der Rosenkavalier

Komödie für Musik in drei Akten

Text Hugo von Hofmannsthal

Thursday 21. March 2024 18:00 – 22:15 2 Breaks Main Stage
Strauss Zyklus

Ticket information

With the Strauss cycle, you can see timeless classics that provide an overview of Richard Strauss' multifaceted oeuvre: From Der Rosenkavalier, staged by Otto Schenk, to the sensational new production of Salome from 2023.

12. September 2023: DAPHNE
14. October 2023: THE WOMAN WITHOUT A SHADOW
17. December 2023: ELEKTRA
21. March 2024: THE ROSE CAVALIER
05. June 2024: SALOME


Cast at
21. March 2024

Feldmarschallin

Julia Kleiter

Baron Ochs auf Lerchenau

Christof Fischesser

Herr von Faninal

Adrian Eröd

Ein Sänger

Angel Romero

Musikalische Leitung

Axel Kober

Inszenierung

Otto Schenk

Bühne

Rudolf Heinrich

Kostüme

Erni Kniepert

About the Production

Short Summary

The Marschallin has spent the night with her young lover Octavian. Their morning get-together is disturbed by Baron Ochs auf Lerchenau.

He asks the marshal for a suitable candidate to deliver a silver rose to his very young bride Sophie - daughter of the newly ennobled, rich Lord of Faninal. The Marschallin suggests Octavian. She reflects melancholically on the transience of life. With a »light heart and light hands«, she wants to let Octavian go one day..
When he meets Sophie, he falls in love with her. Sophie, who does not want to marry the unattractive Ochs, feels the same way about Octavian. But it is only after Baron Ochs has been set up and has become unacceptable as a future husband that Sophie and Octavian's happiness in love seems assured. Especially as the Marschallin remains true to herself and lets Octavian go, albeit with a heavy heart.

Der Rosenkavalier

Storyline

The Marschallin has spent the night with her young lover Octavian.

Their morning get-together is disturbed by Baron Ochs auf Lerchenau. He asks the marshal for a suitable candidate to deliver a silver rose to his very young bride Sophie - daughter of the newly ennobled, rich Lord of Faninal. The marshal proposes Octavian.

She reflects melancholically on the transience of life. With a »light heart and light hands«, she wants to let Octavian go one day..
When he meets Sophie, he falls in love with her. Sophie, who does not want to marry the unattractive Ochs, feels the same way about Octavian.

But it is only after Baron Ochs has been set up and has become unacceptable as a future husband that Sophie and Octavian's happiness in love seems assured. Especially as the Marschallin remains true to herself and lets Octavian go, albeit with a heavy heart.

Act 1 70 MIN
Intermission 25 MIN
Act 2 60 MIN
Intermission 25 MIN
Act 3 60 MIN

On April 13, 1968, the production celebrated its premiere at Haus am Ring - with Leonard Bernstein conducting, Christa Ludwig in the role of the Marschallin and Walter Berry as Ochs. For the revival in December 2010, director Otto Schenk personally breathed new life into his production with stage designs by Rudolf Heinrich. The director: "Everything I invent in a production, I invent thanks to those with whom I am allowed to work. Whereby Der Rosenkavalier is a very 'given' work. Much is predetermined by the music and text and only needs to be reproduced. There is a rococo milieu that is patinated by Art Nouveau; there is an (invented) language that has to be used very realistically. And there are moments when the pure beauty really degenerates. In my five productions of this opera, I have always tried to fulfill these conditions, it was never my style to invent something contrary - I don't have that talent."

Musical

Three musical ≫spheres≪ determine the musical structure of Der Rosenkavalier: the parlando, which dominates for long stretches, the lyrical and melodically broadly developed solo and ensemble scenes and the waltzes, which primarily (but not exclusively) characterize the world of Ochs auf Lerchenau. If these ≫spheres≪ therefore already have a leitmotivic - or leitidiomatic - function, themes and motifs in the sense of memory motifs are also taken up again at thematically analogous points, albeit not in the stringent manner that occurs in Wagner's late works. In addition to motifs, however, key characteristics are very important for Strauss's musical thinking, and their significance in Der Rosenkavalier is already evident in the first sketches in Hofmannsthal's text drafts: Even before themes and motifs, Strauss notated the key of the respective section. (Thomas Leibnitz)

What should the new "play opera" be called? This question was the subject of a correspondence between Hofmannsthal, Strauss and Harry Graf Kessler, the co-author of the scenario, from 1909 onwards. Kessler initially wanted Quin-quin, which Hofmannsthal rejected almost indignantly, not without making suggestions himself: Mariandel was a possibility, "with some adjective (but which one?) Or Der Rosencavalier, what do you say?" Kessler initially said nothing and instead changed the focus: The ruffian in need of love was one of his suggestions - Baron von Ochs was to become the title character. In the same waters came a suggestion from Strauss, which Hofmannsthal had long favored: Der Ochs von Lerchenau und die silberne Rose. "I am quite firmly in favor of the title Ochs von Lerchenau, which places the buffo in the middle, hints at the coarse element and sounds and looks quite good," Hofmannsthal wrote to Kessler. When he finally pushed through the Rosenkavalier after all, the Count sulked in a letter ("abominable title!"), and Richard Strauss formulated his approval (in May 1910 to Alfred Roller) as a protest: "I don't like the Rosenkavalier at all, I like the Ochs! But what can you do. Hofmannsthal loves the delicate, the aesthetic, my wife commands: Rosenkavalier. So Rosenkavalier! The devil take him!"

© Wiener Staatsoper
© Wiener Staatsoper
© Wiener Staatsoper
© Wiener Staatsoper
© Wiener Staatsoper
© Wiener Staatsoper

This production is sponsored by

FAQ

Tickets for our standing room can be purchased online or at the Bundestheater box office from 10 am on the day of the performance. BundestheaterCard holders can book standing room tickets online the day before the performance.

In addition, a fixed contingent of standing room tickets is available for regular evening performances from 80 minutes before the start of the performance at our standing room box office (Operngasse entrance).

Our operas are sung in the original languages - these vary depending on the work.

At each seat, subtitles in different languages can be switched on or off via a separate subtitle screen. In addition to the original language of the opera, you can choose from up to eight languages: German, English, Italian, French, Russian, Japanese, Spanish, Chinese (Mandarin).

In the event of a change of performance, you can of course return or exchange your tickets.

As changes to the cast cannot be ruled out due to illnesses or other hindrances of artists, there is no entitlement to a refund of the ticket price or exchange in this case.

Tickets cannot be returned or exchanged if you are not admitted to the auditorium due to being late (even after the interval).

About Your Visit

Cloakroom

The cloakrooms are located next the the entrances at the Operngasse. You can find additional cloakrooms on the left and right side of the balcony and the gallery and in the boxes. All cloakrooms are free of charge.

Be on Time

We ask you to be on time when attending the performances.
Entry to the auditorium is not allowed after the performance has started. This also applied after the break.

Food and Drink

Our gastronomy opens at the same time entry is permitted. You can enjoy some snacks and drinks before the performance starts or you can book a table for the break.

Practical Information

You can find more practical information regarding your visit (e.g. Dresscode, barrier-free-access, …) here.

 

Discounts, Subscriptions, Cycles

Discounts

The Vienna State Opera offers the following discounts:

  • Under 27
  • Children- & Youth-Tickets
  • BundestheaterCard
  • Ballett-Bonus
  • Ö1-Club
  • Culture Pass »Hunger auf Kunst und Kultur«
  • Disability ID
More info

Subscriptions

Choose a week-day and your favorite seat and enjoy five performances.

  • 4x Opera, 1x Ballet
  • spread out over the whole season
  • up to 30 % discount compared to the regular ticket price
More info

Cycles

Buy multiple performances as a package!

  • big selection of different cycles
  • bundled together by composers, artists or topics
  • spread out over the whole season
  • up to 10 % discount compared to the regular ticket price
More info