Lise Davidsen at la Scala

 

Lise Davidsen successfully made her La Scala debut last night in a concert with her as the featured soloist.  These days Lise starts everything at the top.  The above film shows the orchestra on the floor with the audience in the boxes above. Riccardo Chailly conducted.  I remember him primarily as the conductor of Cecilia Bartoli's La Cenerentola recording.

Program
Giuseppe Verdi	From Macbeth  "Patria oppressa"  [chorus]
Henry Purcell	From Dido and Aeneas  "When I am laid in earth" with Lise
Richard Wagner	From Die Meistersinger von Nürnberg  Vorspiel (Prelude)
Richard Strauss	From Ariadne auf Naxos  "Es gibt ein Reich, wo alles rein ist" with Lise
Giuseppe Verdi	From La forza del destino Sinfonia "Pace, pace mio Dio"  with Lise
Richard Wagner	From Tannhäuser Ouvertüre "Dich, Teure halle"  with Lise
Giuseppe Verdi	From Nabucco  "Va’, pensiero" [chorus]

Only "When I am laid in earth" was something I had not heard Lise sing before.  It was good but unspectacular compared to the other things.  She wore black in the first half and looked radiant.  These songs are basically all tragic, so black was ok.  For the second half she wore a beautiful pastel outfit which brightened the mood.  Her hair is enhanced with an extension down to her waist. 

The two pieces in German are Lise's signature pieces, both of which I love dearly in her voice.  The most spectacularly sung of all was the Verdi "Pace, pace mio Dio".  It would not do for her to omit the Italian language.  All of her languages were beautiful.

I was intrigued by the interplay between Chailly and Davidsen.  He seemed to be looking to her for expressive cues.  This is something singers long for.  I felt it allowed Lise to feel secure and give her utmost.  As a result she made the greatest impression in the great Italian aria "Pace, pace mio Dio."  They were a magical pair.  This is La Scala after all.

I found this to be one of the most intense and spectacular vocal concerts I've ever seen.  The audience stood up a lot.  It's out there.

Lise -- Vocal Arts DC 👍🏻

 

March 19, 2021?  This picture is of the people performing, Lise Davidsen and James Baillieu, but the venue shown is wrong.  This recital is in London on a different date.  I am discussing the Lieder recital streamed from London to Washington, DC.

I feel a certain musical kinship to Lise, not for her glorious Wagner and Strauss operatic triumphs, but more for her Bach, Brahms, Schumann and Strauss Lieder.  When I started at IU, I told the professors that I had performed the alto solos for all the major works of Bach.  They responded, "No you haven't."  So I said,  "Matthew Passion, B minor mass, Magnificat, St John Passion, Christmas Oratorio.  What does that leave?"  I love it that Lise has sung some of the same music.   I once did a whole recital of Lieder by Brahms so it is nice to see a couple of them here.

"Auf dem Kirchhofe" Op.105 No. 4    Johannes Brahms
"Da unten im Tale"  WoO. 33 No. 6
"Mädchenlied"  Op. 107 No. 5
"Liebestreu" Op. 3 No.1
"Von ewiger Liebe" Op. 43 No. 1

Gedichte der Königin Maria Stuart     Robert Schumann

Abschied von Frankreich
Nach der Geburt ihres Sohnes
An die Königin Elisabeth
Abschied von der Welt
Gebet

Luonnotar  Op. 70                             Jan Sibelius  She tells us this is a tone poem.

Five Songs  Op. 37                          Jan Sibelius

Three Songs from Six Songs  Op. 48                   Edvard Grieg

From Acht Gedichte aus "Letzte Blaetter"  Op. 10        Richard Strauss

Zueignung

Allerseelen

Die Georgine  "ob spät, ob früh, es ist deselbe"  [Early or late it is the same.]  She has come to me late in my life,  It is a wonderful gift.

 

"Wiegenlied"      Richard Strauss  I have grown to love this in Lise's version.

"Malven"      Richard Strauss

 

"Befreit"      Richard Strauss

 

"Caecilie"      Richard Strauss     This makes a great ending.

This is an entirely different style of singing than the Wagner and Strauss operas she is rapidly becoming famous for.  It is true Lieder singing.  I'm pretty sure the only two languages are German and Finnish.  The film includes the original text with an English translation below it.

Between each group she talks to us, generally about the songs and about how much she is missing the audience.  She would like to say hello to each of us.  I can only hope that this will happen.  I wish her a wonderful career and a life of happiness.  I've never been famous, but I've had fun.

If you want a disinterested review of Lise Davidsen, you will have to look elsewhere.  I find that I love it because she does.  In the not too distant future there should be a Grieg song album.

Another Ariadne

 

Singers: Lise Davidsen, Eric Cutler , Sabine Devieilhe, Angela Brower, Huw Montague Rendall, Josef Wagner 

Conductor: Marc Albrecht 
Stage Director: Katie Mitchell

There is another Ariadne auf Naxos with Lise Davidsen from 2018 in Aix on Opera on Video.  In this one she is very very pregnant and miserable.  She frowns at the camera.  Towards the end she has the baby, and it is the "wunderschoenste Knabe" named Bacchus.  Cute.  Doesn't someone give birth on stage in Wicked?  

Why should the Komponist be the only genderbending?  In the on stage audience are men dressed as women.   Unlike the opera convention, they only dress as women and are not intended to be women.

The tenor keeps bringing her a box with a gun inside.  The three ladies who have assisted in the birth, sing the Bach-like tune and Ariadne at last takes the baby in her arms.  I found this very frightening and upsetting, but nothing terrible happens.  We forget how unhappy Ariadne is.  She decides to hold the baby and love it.  This is pure regie, but the tilt to deep seriousness is fascinating.  This is only for those who truly love regie.

Elektra from Salzburg

 

Chrysothemis and Elektra

Stage director - Krzysztof Warlikowski
Conductor - Franz Welser-Möst

Elektra, Agamemnon's daughter - Aušrinė Stundytė (soprano)
Chrysothemis, her sister - Asmik Grigorian   (soprano)
Klytämnestra, their mother - Tanja Ariane Baumgartner (mezzo)
Aegisth, Klytämnestra's lover - Michael Laurenz  (tenor)
Orest, son of Agamemnon - Derek Welton (baritone)

Since it still is on medici.tv, I decided to give Elektra from Salzburg last summer a try.  It was performed in the Felsenreitscchule and was one of only two operas presented at that time. The other was Mozart's Cosi fan tutte.

It starts with a speech by Klytämnestra before starting the opera.  She says it was she who killed Agamemnon.  Elektra is one of the daughters of Agamemnon and Klytämnestra.  The women are left at home for ten years while Agamemnon leads the Greeks to Troy to fight for the return of his brother Menelaus's wife Helen who was kidnapped by Paris.  While he is away, his wife takes a lover, Aegisth, and kills her husband when he returns from the war.

The opera begins with Elektra brooding over the murder of her father.  This is a regie production with everyone dressed in modern clothes.  Elektra smokes.  The Felsenreitscchule provides a space for a long shallow swimming pool.  Perhaps it's a feature of the building.  When Elektra cries out to see her father, he appears.  At least I assume that's who it is.  She dances. 

The production is interesting, but these people seem to have been cast for their looks.  They look like the characters they portray, but there is a lot of shouting.  To look like their characters the girls are vocally too immature for their roles. Theatrically it is stunning.  Previously I have seen Christine Goerke and Nina Stemme sing Elektra, but this is more serious, more intense, more in the time of life when all becomes difficult. 

The lushness of the orchestra is beautiful.  The translation is very good.  Many people love this opera.  There seems to be an audience.  Recommended for the intensity.

Lise sings Ariadne

 

 

Tell me again how you don't like Ariadne.

Ariadne auf Naxos from Vienna 👍🏻

Conductor Peter Schneider
Director Sven-Eric Bechtolf

Ein Musiklehrer Markus Eiche
Der Komponist Rachel Frenkel
Der Tenor (Bacchus) Stephen Gould
Zerbinetta Erin Morley
Die Primadonna (Ariadne) Lise Davidsen

This has popped into my awareness just at the right moment.  It is Richard Strauss' Ariadne auf Naxos from the Wienerstaatsoper, 2017, and can be found on Opera on Video.  My copy has no subtitles.  We begin with this wonderful view of the rich man's garden and progress to the artists' dressing room.  Everyone does their own makeup.

I'm here for Lise Davidsen, of course.  In the opening scene Rachel Frenkel earns a mention.  She is an excellent Komponist, who appears only at the beginning.  Originally this opera consisted of only the second act which appeared after a play by Moliere.  In our production she appears around the set in the second half.  She accompanies Zerbinetta on the piano for her big aria and composes a cadenza for her while she sings.  This is a logical addition to the staging.

Complaining.  The voice/orchestra balance is terrible.  In the second half the purported audience is shown at the rear of the stage.  This would be the rich man and his guests.  The singers all turn towards us, of course, which seems rude.  The set for the second half is grand pianos thrown all around.  One realizes that if everything was changed at the last minute, it would all be exactly as chaotic as this staging.

I have not come in vain.  While Lise sings “Es gibt ein Reich,” Der Komponist walks slowly as though in a trance down from the onstage audience.  He cannot believe what he hears.  Such a glorious legato which moves effortlessly from low to high, from soft to loud we have never heard before. The upper register is gorgeous.  The clowns come out before she finishes, so there is no opportunity to clap.  This is a great lady.  It's always wonderful to have someone new to love.  Lise owns this role.

You might also want Erin Morley for your Zerbinetta.  At the very end the Komponist kisses Zerbinetta.

This is one of Strauss's more significant tenor roles, and it very well suits the Heldentenor we have here. 

Lise Davidsen from Norway

Lise Davidsen with James Baillieu, piano.

 
I have changed the picture to this one that shows both of the faces of the performers in Lise Davidsen's Metropolitan Opera sponsored recital on Saturday.  For the performance they were dressed in normal recital clothes.

Lise began with what is already her signature piece:  “Dich, teure Halle” from Wagner’s Tannhäuser and followed it with “Allmächt’ge Jungfrau” from the same opera.  I reviewed her performance of this at Bayreuth in 2019 and said: "Lise Davidsen is utterly magnificent.  I adore her 'Dich teure Halle.'"  It's somewhat less impressive with piano but is still excellent.  I have also seen her in a production of Fidelio from the Royal Opera described here.

In a similar vein she performed “Es gibt ein Reich” from R. Strauss’s Ariadne auf Naxos.  This also displays perfectly her suitability for German repertoire.  I enjoyed this very much.

Operatic pieces included one Verdi,  “Morrò, ma prima in grazia” from Un Ballo in Maschera, and one Puccini, “Sola, perduta, abbandonata” from Manon Lescaut.  All of her operatic selections were easy for her.  She is never pushing or struggling with the notes.  She has been taught an excellent legato as well.  Or perhaps she comes by it naturally.  Operatic works were alternated with song repertoire.

• “Ved Rondane,” Op. 33, No. 9 By Edvard Grieg 
• “En Svane,” Op. 25, No. 2 By Edvard Grieg 
• “Våren,” Op. 33, No. 2 By Edvard Grieg

• “Säf, säf, susa,” Op. 36 By Jean Sibelius 
• “Var det en dröm?” Op. 37 By Jean Sibelius 

• “Ruhe, meine Seele!” Op. 27, No. 1 By Richard Strauss 
• “Cäcilie,” Op. 27, No. 2 By Richard Strauss 
• “Heimliche Aufforderung,” Op. 27, No. 3 By Richard Strauss 
• “Morgen!” Op. 27, No. 4 By Richard Strauss  

She finished with pieces approaching pop songs, ending with "I could have danced all night" where we were invited to sing along.

• “Johnny” By Benjamin Britten 
• “Heia, heia, in den Bergen ist mein Heimatland” From Kálmán’s Die Csárdásfürstin 
• “O lovely night!” By Landon Ronald 
• “When I have sung my song to you” By Ernest Charles 
• “I Could Have Danced All Night” From Lerner and Loewe’s My Fair Lady.  I sang along, of course.
  

That's Norwegian, Finnish, German, Italian, and English.

She grows on me very quickly.  The Queen of Norway loves her.  This is an excellent selection of pieces for her voice.  She sings from a place of joy and peace.  We should await a long career.

She was hosted by Christine Goerke.

To Feel Better about Life

 Four Songs  Part 1


 

 Four Songs Part 2


 

Four Songs Part 3

 

Four Songs Part 4

Salome from San Francisco

 👍🏻

Conductor - Nicola Luisotti 

Director and Choreographer - Séan Curran 

 

Garrett Sorenson - Narraboth

Elizabeth DeShong - A page

Greer Grimsley - Jokanaan

Nadja Michael - Salome

Kim Begley - Herod

Irina Mishura - Herodias

I loved seeing this again.  I mean, of course, Salome from the San Francisco Opera.  I saw it live here, 11/2/2009.  Each of the main characters represented their role to a T.  This opera is based on a play by Oscar Wilde and follows the original closely in German.

The biggest problem with Salome is that Salome is 15 and the voice required to sing her is about 40, I would say.  Nadja overcomes all this.  She convinces as a young woman insanely in love.  I don't know what would improve on this.  In the house I could not see the dance well enough to tell what was going on.  It turned out to be very sexy and merely suggestive of nudity.

I also found Greer Grimsley beautiful and believable.  This Johanahan might lure young women to follow him with his charisma. 

As an overall theatrical experience, this may just possibly be the best.  I'd have to watch Maria Ewing again to be sure.

Ariadne👍🏻

👍🏻

Conductor...............James Levine

Production..............Bodo Igesz

Ariadne.................Jessye Norman
Bacchus.................James King
Zerbinetta..............Kathleen Battle
The Composer.......Tatiana Troyanos
Music Master.........Franz Ferdinand Nentwig
Harlekin................Stephen Dickson
Scaramuccio..........Allan Glassman
Truffaldin..............Artur Korn
Brighella...............Anthony Laciura
Najade..................Barbara Bonney
Dryade..................Gweneth Bean
Echo....................Dawn Upshaw

For today's Metropolitan Opera stream we are treated to Richard Strauss's Ariadne auf Naxos, 3/12/1988.  It is unbelievably wonderful.  My all time favorite mezzo is Tatiana Troyanos who sings an outstanding, over the top Composer.  She alone is worth the time.  But look at the complete excess of riches.  Zerbinetta is Kathleen Battle herself, here lively and young.  Ariadne is probably Jessye Norman's greatest role, and here we have her at her peak.  And if that isn't enough, there is James King to sing Bacchus.

In the prologue they all appear as themselves in a peek at backstage life.  Originally the play followed a play by Molière, see here.  They are all wonderfully lively. 

Jessye is beyond wonderful, but they have decided to focus on her face in endless closeups, and she makes faces when she sings.  One might prefer the camera a bit further back.  The singing of "Es gibt ein Reich" is absolutely glorious.  Is this the greatest opera performance every recorded?  I'm tempted to say yes.

Then Kathleen does her wonderful "Großmächtige Prinzessin".  We have one delight after another.  I loved Kathleen Battle and would have fired the conductor. 

Ariadne's three ladies sing what seems to be Schubert's "Schlafe, schlafe."  We transition to the entrance of Bacchus.  "Are you the queen of this island?"  He persuades her.  King isn't quite up to the ladies, but Jessye is fabulous all the way to the end.  They go off to be happy.

Thank you.  This is one of the great things.

Lise Davidsen sings Strauss

She is a wonderful new voice, here with Esa-Pekka Salonen.

Joyce rehearses Morgen

I love films of people rehearsing. The only problem with this short film is that it's only a fragment.

Salome from Munich

Conductor: Kirill Petrenko
Production: Krzysztof Warlikowski

Herodes Wolfgang Ablinger-Sperrhacke
Herodias Michaela Schuster
Salome Marlis Petersen
Jochanaan Wolfgang Koch
Narraboth Pavol Breslik
Ein Page der Herodias Rachael Wilson

Salome by Richard Strauss streamed today from the Bayerische Staatsoper.  This was an extraordinary production with great depth of imagination.  It was performed in German by the best company for German diction.  A commenter on FB said, "They dock your pay if you make mistakes in your German."  One of the results of this is that while the orchestra is spectacularly musical (Kirill Petrenko), the singers don't bring us the best of all possible Strauss phrasing.  This shifts the focus away from the singing onto the theatrical presentation.  Usually your attention is distracted from the story by either the striptease or the intense lyrical singing of the soprano.  We had neither distraction.

The biggest surprise came when the curtain opened to a countertenor singing the opening song of Mahler's Kindertotenlieder.  Perhaps this is an entertainment for the party.  Or perhaps it is to tell us that whatever we may be seeing, this is an opera about children.

It was Regie, of course, which means there were clothing designs from around 1950, plus something intended to be a swimming pool that is visible when the center of the stage opens up to show Jochanaan's cell.  The singers mention frequently that it's cold, and they would like to go inside.  However, we seem to be in a library.

People smoke, including Salome.  When the opera begins, Narraboth sings about how beautiful the princess Salome is this evening.  Nothing about the women on the stage suggests that one of them is Salome.  The Page is usually a trouser role, but here it is staged as a woman who is in love with Narraboth and jealous of Salome.  Maybe I'm explaining too much.  When she finally sings, we see Salome is the woman in the red dress.

Why is one so fascinated?  Salome herself is clearly too old to be a child.  This is the main problem with this opera in general.  Salome is a teenager who sings like a fully mature spinto soprano.  Maria Ewing destroyed her voice singing it because she made a perfect stripper in the dance scene.  This is a problem without a solution.  Our Salome is not a teenager and also not a spinto.  I'd call her a full lyric.

Herodes is something of a pedophile and wants to see his wife's daughter dance.  Throughout the opera the stage shows a young girl with long dark hair sitting and observing.  She moves from place, has a mother who occasionally approaches her, but does not interact with anyone else.  She sees everything without reacting.  Maybe she's a Salome alter ego.

The dialog clearly states that Jochanaan is young, yet when we see him he is late middle aged.  Why she loves him we do not know.  But does anyone know the why of love?

For her dance Salome dresses as a bride and dances with a man made up as a skeleton:  Death.  It is relatively pleasing.  Animation appears on the wall behind.  They show afterward when the cast goes outside to greet the onlookers in the platz, that the box she is singing to actually has a head inside.  It couldn't be seen on the stream.

Narraboth comes back to life, and so does everyone else.  What is that about?  One is fascinated but not sure exactly why.

Mir ist die Ehre wiederfahren

The horse is utterly irresistible.

Ariadne

On with my Met on Demand subscription.  I am watching Strauss's Ariadne auf Naxos with Kathleen Battle, Tatiana Troyanos, James King and Jessye Norman.  These are all singers that I loved.  You've never seen anyone wail the composer better than Tatiana Troyanos.  I miss her.

And no one wails anything better than Jessys Norman.  And in case you prefer coloratura, we have Kathleen Battle in her prime.  This is a must see. James Levine conducts.  If you look carefully, you will see Barbara Bonney and Dawn Upshaw.



The original film posted here has been withdrawn.  To view go to Met on Demand.

Arabella with Kiri

Conductor Christian Thielemann
Production Otto Schenk

Arabella: Kiri Te Kanawa
Zdenka: Marie McLaughlin
Adelaide Waldner: Helga Dernesch
Matteo David Kuebler
Mandryka: Wolfgang Brendel
Count Waldner: Donald McIntyre
Fiakermilli:  Natalie Dessay

For my first full opera on my year of Met on Demand I have chosen Kiri Te Kanawa in Strauss's Arabella, I believe from 1994.

They have given her a handsome, passionate Mandryka in Wolfgang Brendel. I promise not to review everything I watch, but this has to be an exception.  This is by far the most traditional production I have seen for Arabella.  The world has changed, and I don't suppose there are counts and countesses everywhere anymore.  There is certainly no Austrian emperor today.  So a traditional production seems suitable.

It is fun to see Natalie Dessay pop in for a moment.

Arabella wants the some enchanted evening experience where you suddenly fall in love across a crowded room.  Mandryka is even worse.  He falls in love with a photograph.  The mystery of Arabella is the Zdenka/Zdenko character who falls in love with one of Arabella's suitors, a young man named Matteo who sends Arabella flowers every day.  She knows she has to marry money, and she knows he doesn't have any.  No one pays any attention to Zdenko/Zdenka, a girl pretending to be a boy.  She almost ruins everything.  She writes love letters to Matteo.  She seems almost invisible.  Even her mother pays her no attention.

For me I love to see the same piece performed in very different ways.  I probably saw Kiri in this in San Francisco, but now I am more familiar with the opera.  Kiri is at the sweet end of the range of emotions.  Perhaps Anja Harteros is at the other.

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Arabella in San Francisco

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Conductor Marc Albrecht *
Director Tim Albery *
Production Designer Tobias Hoheisel

Waldner family:
Arabella, elder daughter of the Waldners: Ellie Dehn (soprano) ‡
Zdenko/Zdenka, Arabella's sister: Heidi Stober 
Countess Adelaide Waldner, their mother: Michaela Martens ‡
Count Theodor Waldner, a retired cavalry officer, their father: Richard Paul Fink ‡

Arabella's suitors:
Mandryka, A Croatian landowner Brian Mulligan ‡
Matteo, a young officer Daniel Johansson * ‡
Count Elemer, one of Arabella's suitors Scott Quinn ‡
Count Dominik, one o f Arabella's suitors Andrew Manea † ‡
Count Lamoral, one of Arabella's suitors Christian Pursell † ‡

A Fortune - Teller to Countess Waldner: Jill Grove ‡
The Fiakermilli, a cabaret singer Hye Jung Lee ‡

* San Francisco Opera debut † Current Adler Fellow ‡ Role debut

A new production of Strauss's Arabella is currently running at the San Francisco Opera.  This opera is very nice, has lovely music and a perfect ending, as long as you remember that everyone in it is an idiot.  The Waldners have two daughters and no money because papa gambles it all away.  They are trying very hard to find a wealthy and suitable husband for their elder daughter Arabella.  Father remembers his old army buddy Mandryka and sends him a picture of his daughter.

Kaufmann's Four Last Songs

Look what I found. Our boy sings the Four Last Songs of Richard Strauss.  It was posted today and sung on Monday.  I am posting before listening.  The balance with the piano is bad.  Click on the word YouTube in the picture to navigate to that application.

Elektra Night at the Museum

Christine Goerke

 👍🏻
Conductor:  Henrik Nánási
Production:  Keith Warner

Elektra: Christine Goerke
Klytemnestra, Elektra's mother: Michaela Martens
Chrysothemis, Elektra's sister: Adrianne Pieczonka
Orest, Elektra's brother: Alfred Walker *
Aegisth, mother's lover: Robert Brubaker
Tutor of Orest: Anthony Reed

Last night I attended a San Francisco Opera performance of Richard Strauss's Elektra.  I have been going here for all of my adult life and can think of only one comparable performance--Die Frau ohne Schatten, also by Strauss, in 1980 with James King as The Emperor, Leonie Rysanek as The Empress and Birgit Nilsson as Barak's wife.  My soul is larger.  Everything that needs to be said has already been said about this, but I will have a go anyway.

In the recent past was another night at the museum production, of Il Trovatore with Anna Netrebko from Salzburg, but the exhibition seemed without a theme and incoherent.  Here we have what seems to be an exhibition of artifacts from Mycenae, the Greek culture which launched the Trojan War.  The house of Atreus with Agamemnon, Klytemnestra, Iphigenia, Orestes and Elektra are the central figures from this culture and appear through history in many art forms.  It is entirely plausible that an  exhibit devoted to physical objects from this time would take place.  Many of these objects appear in this production.  So we have a far more plausible intermingling of the ancient and the modern.  When they speak of Agamemnon, a man wearing the death mask said to belong to him appears.  We believe this.

Christine's character is always clearly a modern person who is projecting her life and family onto these historical figures.  We see this most clearly when this kitchen appears:

Klytemnestra and Elektra

We exclaimed to one another, "My mother had a kitchen like that."  The time travel was handled very smoothly.  This is clearly a very successful concept regie production.  All the other characters have dual identities and appear in modern and ancient clothing.  Other productions for this opera I have seen recently have all the main action take place off stage.  Here the deaths occur before our eyes.  It is intense.

Musically I found this to be a triumph.  The three women--Christine Goerke, Michaela Martens and Adrianne Pieczonka--were performed by three big voices in glorious fashion.  The biggest surprise was in the music.  It wasn't that long ago I was bemoaning the death of great Strauss conducting.  Henrik Nánási has shown us the way back.  It was the best Strauss I've heard in years, and it was by our San Francisco Opera orchestra.  Bravi.  Because the screens were turned on, I noticed that the orchestra stood immediately when the maestro came out for his final bow, turned toward him and applauded.

It was a colossal, towering performance on every level.

Thank You

👍🏻
This is the moment in Richard Strauss's Der Rosenkavalier, live in HD from the Metropolitan Opera, at the end of Act I when Renée Fleming looks out into the auditorium and thinks this is perhaps the last time.  The look of this scene resembles Blenheim Palace, the home of the Duke of Marlborough. 

Conductor....................Sebastian Weigle
Production...................Robert Carsen

Count Octavian Rofrano.....Elīna Garanča
Princess von Werdenberg...Renée Fleming
Baron Ochs...................Günther Groissböck
Sophie.......................Erin Morley
Faninal......................Markus Brück
Annina.......................Helene Schneiderman
Valzacchi...................Alan Oke
Italian Singer.............Matthew Polenzani

The time has been moved to 1912 when the opera was first performed, just before WWI.  All the men are soldiers.  There were many special moments in this Rosenkavalier, but I especially liked when the Marschallin sings "Wenn ich auch an ein Maedel errinnern, die frisch aus dem Kloster bis in die heiligen..." and she goes over to the chest containing the rose, takes it out and remembers that once the rose arrived for her.  I have never seen this business before.  I saw my first Renée Fleming Marschallin in 2000 in San Francisco and find her characterization was deeper and more serious than before.  I also loved that at the end she takes the arm of the police sergeant, moving on to her next lover it would seem.  I can only describe her as magnificent.

Most of the details of the staging are acceptable if not always traditional, but at the end is a surprise.  In Act I a large, odd looking green hat appears.  Then at the very end of the opera when everyone has left the stage, an army rises up with someone in the center wearing the green hat.  We must assume this is the otherwise not seen Feldmarschall being mowed down in battle.  Curious.  This could easily be done without.

I didn't agree with every detail, but the richness of texture of this production filled my heart to overflowing.  Der Rosenkavalier holds a special place in my heart, and this one has risen to the top. 

Our Ochs, Günther Groissböck, was Ochs in Salzburg in 2014.  He adds many layers of depth to this character.

And our Italian singer was none other than Enrico Caruso.

This moment in the second act was also perfection, though of the more traditional sort.  Octavian leans over to smell the Persian attar of roses, looks up at Sophie and instantly falls in love.  I first heard Erin Morley in King Roger in Santa Fe where she was wonderful.  Her Sophie is much more than a mere soubrette and adds soaring lines.  Her acting is also more complex than usual.

When I saw her in duets with Anna Netrebko, I did not imagine that our Latvian mezzo Elīna Garanča would turn out to be such a wonderful actress.  She was simply spectacular.  I'm having a hard time finding the words for something that exceeded my wildest imaginings.  She threw herself so gleefully into Mariandel.

We finished with a spectacularly glorious trio.  Thank you, Peter Gelb, Metropolitan Opera, Günther Groissböck, Erin Morley, Renée Fleming, and most of all Elīna Garanča for a wonderful memory.

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