DER ROSENKAVALIER

Specially stunning performance from Renee Fleming in Cinema Nouveau hosting. (Review by Lynne Goodman)

Der Rosenkavalier, the latest filmed opera from New York’s Met, is brilliant on every level, with a specially stunning performance from the celebrated Renee Fleming, who wowed Durban concert goers when she sang with the KZNPO last year.

The beautiful Fleming’s moving, multi-layered portrayal of the aristocratic Marschallin in love with a ‘toy boy’ is just one of the reasons to catch this latest celluloid treat in the Metropolitan Opera series. The uniformly superb acting is matched by the singing in a staging that sparkles from start to finish. And as yet another bonus, the interval interviews are conducted by the sublime Spanish tenor Placido Domingo, who is every bit as persuasive behind the microphone as he is on stage.

Forget its daunting length - over four hours - and the fact that its turn-of- the-century composer Richard Strauss is not as familiar or ‘hummable’ as Verdi. Everything in this presentation, from the elaborate staging to the ebullient performances, is guaranteed to keep the most dedicated early leavers stuck to their seats to the bitter (sweet) end.

The three-act Der Rosenkavalier, which had its premiere at the Dresden Opera just 99 years ago, is regarded as Strauss’ most charming opera. It manages to combine high comedy and satire with poignancy and passion - not to mention dilly derring-do with in-depth characterisation. Hugo von Hofmannsthal’s libretto is a work of literature in its own right and note for note, Strauss’ seductive score matches its brilliance.

Briefly the story revolves round the Marshallin and her young lover, Octavian, who she releases when he falls for the teenaged Sophie, after he discovers her being forced into marriage with boorish nobleman Baron von Ochs. The music captures every nuance, from the Marshallin’s sad lament about growing old, to the scintillating love at first sight encounter of the teenagers. Waltzes interlink the action to express both high spirits and melancholy and Strauss illustrates his tremendous gift with soprano voices throughout - most notably in the famed trio of the final act.

The ‘toy boy’ Octavian is played by a woman, which leads to endless intrigue when she masquerades as a maid (a SHE playing a HE playing a SHE). This ‘trouser role’ is taken by the seasoned mezzo soprano Susan Graham. Her interaction with Fleming - an equally long- standing Strauss specialist - is one of the many joys of the production.

The interval interviews add greatly to the overall experience as the soloists eloquently explain their parts. All in all, I can’t praise the singers or recommend the show highly enough. (Review by Lynne Goodman)