Der Rosenkavalier

I do love the Kiri TeKanawa and Anne Sophie Von Otter productions as well, but this is my favourite of my favourite Richard Strauss opera. The costumes are elegant and the settings are sumptuous, while the camera work, sound and picture quality are great(at least to me).

The music is just sublime, so many highlights but my favourite will always be the final trio which is sung and conducted to perfection. The orchestral playing is lush and Herbert Von Karajan's conducting superb. The story and characters also engage and draw you right in.

The cast are just brilliant. I can understand why one mayn't warm to Elisabeth Schwarzkopf's voice, her lower register was throaty for my tastes, but she was a musical and intelligent singer, and here in an appropriately nuanced and deeply felt performance she proves why the Marshallin is one of her best roles.

Otto Edelmann also excels in one of his better(acting and pitch-wise) performances as Baron Ochs, and makes the character conniving and crude. Annelisse Rothenberger is a perfect and beautiful Sophie, Erich Kunz is terrific as Faninal.

Best of all is Sena Jurinac, who is magnificent. And I'd go as far to say she is the best ever Octavian.

Overall, fantastic and my favourite of such a wonderful opera. 10/10 Bethany Cox

I have heard three versions of the final scene with the Marschallin from "Der Rosenkavalier."

The first time was with the supreme Kiri Te Kanawa in the role, which led me to the version of Elizabeth Schwartzkopf in the same part in 1962. The contrasts were interesting to say the least.

While Te Kanawa soared in the part with her face full of emotion, Schwartzkopf was bland and still. She could sing as well, but not as forceful as Te Kanawa.

The parts of the Baron and Sophie were intriguing in these two versions as well.

Schwartzkopf's version had Sena Jurinac as Octavian and Anneliese Rothenberger as Sophie, both of whom were lively and spriteful, very surprising from the pained performances of Anne Howells as Octavian and Barbara Bonney as Sophie in Te Kanawa's version.

It's a shame there was no way for the two supporting players in the '62 version to work with Te Kanawa. Their joy would have made the Marschallin's pain so much more overwhelming.

Still for an over-forty-year-old opera, Der Rosenkavalier with Elizabeth Schwartzkopf stands as an excellent introduction to the opera, but not the best. That is Dame Kiri Te Kanawa.

I first saw this film at the Royal Festival Hall London in the early 70s and subsequently have owned it both on VHS and now DVD. I should admit right away that Dame Elisabeth is my all time favourite soprano and I never missed one of her RFH annual lieder recitals. This film was studio produced concurrently with a very successful Salzburg Festival production and so it captures much of the naturalness of a live performance. Cinema buffs may find the filming rather dated but for opera fans the spectacle of the greatest post-war Marschallin accompanied by one of the best casts available at the time is a truly life enhancing experience. The Monologue is just about as perfect as one could imagine and the humour and pathos of the last act is never heavy handed. There is no opera film more important to me and it would certainly be my Desert Island choice.

excerpt, more at my location - This version of Der Rosenkavalier was a 1962 stage performance of German composer Richard Strauss's renowned comic opera. It was filmed live in the accompaniment of the Vienna State Opera Chorus and Philharmonic Orchestra, where the newly released Blu-ray boasts a painstakingly restored colour and image, highlighting the luscious production values of the three hour opus.

Newly restored in the high-definition Blu-ray format, Der Rosenkavalier looks and feels wonderfully vibrant, particularly when considering that almost fifty years have passed since this particular stage version was filmed live. While perhaps not to everyone's liking (the three-hour plus runtime may be tough going for some), the operatic performances, from renowned sopranos such as Elisabeth Schwarzkopf and Sena Jurinac, soar impressively.

The one responsible for the direction was the veteran Paul Czinner, who the year before had filmed "The Royal Ballet" in Covent Garden with Margot Fonteyn as prima ballerina in "Swan Lake", "Firebird" and "Ondine" in historically as memorable and important a ballet film as this one is of the opera - in the 30s he filmed Shakespeare. Everyone contributes with his best in this fabulous performance, where everyone is an ace, first of all Elisabeth Schwarzkopf as the leading princess, the astoundingly perfectly appropriate Sena Jurinac as the androgynous cavalier (supposed to be a male teenager of 17 years) and the sparkling Anneliese Rothenberger as Sophie, with Herbert von Karajan at his best in his prime and still a young man, but above all Richard Strauss' 100% golden music all the way. To this comes the absolutely perfect staging and setting, with completely realistic appropriate costumes of the times of the empress Maria Theresia (Mozart's time) in a palace like Schönbrunn or some other intimate rococo palace, all performed in Salzburg. Paul Czinner actually had for his ambition to make this film version of the last great opera of the golden opera epoch a lasting monument and perfect version of this absolute classic of a great opera, although the story is rather silly and no more than like any flippant wig wedding cake by Mozart, but even the silliest comedy can be made great by masterful music.