The Marschallin, Princess von Werdenberg (soprano) Nina Stemme
Octavian (soprano / mezzo) Michelle Breedt
Baron Ochs (bass) Alfred Muff
Sophie von Faninal (soprano) Laura Aikin
Herr von Faninal (baritone) Rolf Haunstein
Marianne (soprano) Christiane Kohl
Valzacchi (tenor) Rudolf Schasching
Annina (contralto / mezzo) Kismara Pessati
Faninal’s Major-Dorno (tenor) Andreas Winkler
A police inspector (bass) Reinhard Mayr
The Marschallin’s Major-Domo (tenor) Martin Zysset
An Italian singer (tenor) Piotr Beczala
A notary (bass) Tomasz Slawinski
An innkeeper ((tenor) Volker Vogel
Three noble orphans, a milliner, a vendor of pets, four lackeys, four waiters – members of the chorus.

Der Rosenkavalier resulted from close collaboration between dramatist Hugo von Hofmannstahl and composer Richard Strauss. Previously, they had worked together on  Elektra but while that is an adaptation of a Sophocles’ play, Der Rosenkavalier is an original story conceived jointly. The collaboration resulted in one of the most sophisticated opera libretti ever written, full of subtle exchanges and turns of literary phrase so  I was  happy to find this concert version performed in German with English surtitles.

The orchestra of the Zurich Opera House  laid out differently from the standard arrangement, a good move by conductor Franz Welser-Möst. The cellos and double basses were in the middle, flanked to his left by the first and second violins and to his right by the violas. This enhanced the music very effectively producing a particularly rich sound and highlighting the details and delicate sonorities of the orchestration. On the other hand, the soloists were placed on an elevated platform behind the orchestra, which meant that the voices were occasionally overwhelmed by the orchestra. Though this did not diminish the quality of the performance, which was near -flawless throughout, it would have made it more memorable if the soloists had been standing at the front.

Like all Strauss’ operas, Der Rosenkavalier demonstrates the composer’s musical affinity with the soprano voice, and in particular the role of the Marschallin is arguably one of the greatest of all operatic creations. Nina Stemme demonstrated why she is in great demand at the major opera houses and delivered a poignant, mature and moving  Marschallin, at times particularly in the finale where she gracefully steps aside, renouncing Octavian and leaving him free to love the young Sophie for whom he has fallen instantly in the second act. Stemme’s coloratura falls easily into place and she maintains a restrained, warm tone even in the highest registers of her voice, doing justice to the role by giving the princess all the dignity her attitude demands. Deservedly, she  received some of the greatest ovations of the evening.

Michelle Breedt, Octavian, and Laura Aikin, Sophie von Faninal, delivered solid, heartfelt performances as the two youthful characters. Ms Breedt has a natural talent for comedy and it would have been very interesting to see her in a full staging of the work and in costume. Laura Aikin was also convincing as the young Sophie. She has a crystalline voice, with the purity and innocence of tone needed for such a role. As for Baron Ochs, Alfred Muff was outstanding in a role he has performed many times and which fits him like a glove. Totally believable as the pompous Baron, both his voice and his diction were clear, with  his tone particularly striking in the lower registers

The excellent Piotr Beczala, as “the Italian singer”,  reminded me why I miss a great tenor’s voice in Der Rosenkavalier. Strauss's  lyrical, conversational style has neither formal arias nor recitatives most of the time, but he gives the Italian singer a fittingly formal aria. Piotr Beczala delivered it beautifully, turning a small appearance into one of the evening's highlights and receiving appreciative applause for his effort.

The Zürich Opera Orchestra and Chorus demonstrated their consistency with an excellent rendition of this popular Strauss opera. The prelude to Act I, almost a tone poem  in its scene setting and description of  Octavian and the Marschallin's love-making was impressive and beautiful, as was the sentiment and melodic expression of the memorable waltz tunes that bind the whole work together. Franz Welser-Möst's take on this score was well judged and well paced, effectively demonstrating the work’s musicality. This was most accomplished during the famous Act III trio, one of the finest ensemble pieces in opera to my mind. The orchestra’s supporting role was perfectly measured, bringing out the lyrical expression of the music and underpinning the three female voices to great effect.

While Der Rosenkavalier loses something as a concert performance, the evening was satisfying and enjoyable, making clear once again -  if affirmation were needed - why the work enjoys such success. Its matchless blend between libretto and  music has a timeless, enduring appeal with audiences. It's a marvellous comedy set to splendid music and this performance did it full justice.

Margarida Mota-Bull


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