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Dorothy Chandler Pavilion Tickets Information And Der Rosenkavalier Tickets


What is Der Rosenkavalier in Dorothy Chandler Pavilion?

The Bavarian Richard Strauss was not connected to Johann Strauss, the Viennese Waltz King, but he well-liked him deeply, and their career overlapped for a dozen years or so at the finish of the nineteenth century. Johann Strauss was at the tallness of his celebrity at the time the young Richard began to create a name for himself (Don Juan, the first of the latter's huge tone verse, was given its opening in the similar year as the farmer's Emperor Waltz , 1889), and Der Rosenkavalier would not have approach into being if its creator had not recognized and appreciated the waltzes of the Viennese Strauss's.

Present are a number of fascinating parallels, or near-parallels, to be renowned in the career of Richard Strauss and Johann Strauss. Both twisted to script for the phase only after establish themselves in the orchestral realm-Johann following being crown the Waltz King, Richard after producing his extraordinary chain of symphonic poems. Both were also conspicuously active as conductors. Johann Strauss did not imprison himself completely to dance music in that role, but conduct his orchestra in the Viennese premieres of machinery by Liszt and Wagner when the business either lacked the bravery or renege on a pledge. Richard, too, went far beyond his own compositions in his conducting repertory; he was especially accepted for his Mozart, in both the performance hall and the opera house, and it is to that composer, perhaps even more than the Waltz King, that Der Rosenkavalier is an loving compliment, with The Marriage of Figaro as the most likely replica. It is important that Strauss set his opera in the city linked with both Mozart and the Johann Strauss dynasty, and anywhere he himself was to serve for a time as manager of the Vienna Opera. By a happy accident, the premiere, in Dresden, fell on the eve of Mozart's 155th birthday.

Such a labor, in any happening, was now what Strauss needed to assure his community in the wake up of the minor scandal generate by his Salome and the fierce drama of his Elektra. The last was his first teamwork with Hugo von Hofmannsthal, the librettist who was to him the kind of teammate Lorenzo da Ponte had been to Mozart; Der Rosenkavalier was their second joint crack, set not in bleak ancient times but in the Vienna of Maria Theresia, the empress who died in 1780, a year before Mozart settled there. The leader character is not the title role but the Marschallin, who is herself named Marie-Thérèse, and who in some respects may remind us of the Countess in The Marriage of Figaro. Like Cherubino in that opera, Octavian, the young hero (the Rosenkavalier himself), is a Hosenrolle, a gentleman character portrayed by a female vocalist. If the Der Rosenkavalier opera is more voluptuous, more opulent, and even more rife with intrigue than Figaro , it is also a small piece more non-judgmental in its view of human weakness in affairs of the heart. Even its cynicism is served up mit Schlag , ornamented and sweet with waltz rhythms which, far on or after striking us as out of date, actually seem to give the labor a kind of fairyland timelessness.