Review – Der Rosenkavalier (Royal Opera House, Thursday 22 December 2016)
The Marschallin – Rachel Willis-Sörensön
Octavian – Anna Stéphany
Sophie – Sophie Bevan
Baron Ochs auf Lerchanau – Matthew Rose
Herr von Faninal – Jochen Schmeckenbecher
Marianne Leitmetzerin & Noble Widow – Miranda Keys
Valzacchi –Wolfgang Ablinger-Sperhacke
Annina – Helene Schneiderman
Italian Singer – Giorgio Berrugi
Police Commissioner – Scott Conner
Major Domo – Samuel Sakker
Hairdresser – Robert Curtis
Noble Orphans – Kathy Batho, Deborah Peake-Jones, Andrea Hazell
Milliner – Kiera Lyness
Animal Seller – Luke Price
Innkeeper – Alasdair Elliott
Director – Robert Carsen
Set Designers – Paul Steinberg
Costume Designer – Brigitte Reiffenstuel
Lighting Designers – Robert Carsen and Peter van Praet
Choreographer – Philippe Giraudeau
Royal Opera Chorus
Orchestra of the Royal Opera House
Andris Nelsons (Conductor)
It’s often tempting to dismiss Der Rosenkavalier as ‘ein farce’. Shrouded in the Eighteenth Century setting, the opera is as much about change – inevitable both in terms of relationships as well as society – as it is about love. And it takes an exceptional director to bring out its darker side.
Robert Carsen is such a director. I’ve long been a huge admirer of his works – strong on narrative but full of insight and inventiveness. His Iphigénie with Susan Graham, his Frosch in Vienna, his take on Handel’s Rinaldo and the more recent brutal and heartrending Les Carmelites are among those productions that have had the greatest personal impact.
While this Der Rosenkavalier had its lighter moments, it was Carsen’s attention to detail that made it so involving. Combined with an innate understanding of human behaviour and his intellectual capacity to tell a story, this is of the most rewarding productions I have seen.
Visually the staging was stunning. The Marschallin’s own room, with its paintings of Emperor Franz Josef and other Austrian and Habsburg aristocracy, immediately created a world of ivory tower privilege. Faninal’s palace was in rude juxtaposition. The howitzer and other weapons immediately made it clear how he had amassed his new wealth and also underlined the cruellest irony that his daughter’s future husband – at this stage Ochs but ultimately Count Octavian Rofrano – would be victims of his class’s aggrandisement. For the final act a seedy bordello masquerading as an elegant brothel, complete with the cross-dressing maitre-d’ of Alasdair Elliott and the two-way paintings. The detail paid to individuals as well as to creating specific images led an additional depth. For example, the Gigli-like Italian Tenor – beautifully sung by Georgio Berrugi – presenting an autographed record; the forward looking fashion for the Marschallin to peruse but ultimately dismiss; the arrogant militaristic snapshot that closed the second act. All these and many other effortlessly created a sense of time. Most interesting was the Marschallin’s ‘chemistry’ with the Police Commissioner and final departure from the stage with him. Arm in arm, Carsen intentionally or not seemed to hint that the Marschallin had decided to eschew young men for boys. Without a handkerchief to retrieve at the end, Carsen was able to end of the darkest of notes.
On stage, Covent Garden fielded a cast that was strong if yet all wholly establishing themselves in these particular roles. Given time, I’ve no doubt that some of these singers will become closely associated with their specific roles.
Without dispute however, the Octavian of Anna Stéphany dominated the evening. There was a strength – almost a masculinity – to her singing with hardly any hint of strain throughout the evening. If her ‘Viennese’ dialect was not as strong as that of other singers I have heard in this role, her acting definitely convinced. She effortlessly shifted from spoiled boy, to privileged youth to beguiling maid.
Sophie Bevan was a scintillating and experienced namesake – finding the right balance between ingénue and young woman. Vocally the part held no terrors for her. From the stratospheric writing of the presentation scene to the final duet her liquid tone was full of warmth without any hint of strain.
The Ochs of Matthew Rose and the Marschallin of Rachel Willis-Sörensön were both works in progress but show much promise, particularly Willis-Sörensön. She has a warm and resonant soprano and hopefully more experience in the role will deepen her characterisation as well as result in more fluidity and seamless phrasing of the vocal line as well as more colour
The remaining cast, led by Jochen Schmeckenbecher as Faninal and the Valzacchi and Annina of Wolfgang Ablinger-Sperhacke and Helene Schneiderman – completed a strong ensemble cast. Special mention must also be made of Miranda Keys’ Marianne Leitmetzerin.
Sadly, the efforts in the pit were not as polished. After a stunning Rosenkavalier in Birmingham, it seemed that Andris Nelsons couldn’t find his mojo for this performance. The playing of the orchestra – usually so burnished and warm – sounded decidedly brittle and rarely matched the magic of Strauss’ score and his direction wasn’t focused enough to pull out the transparency that is much needed in this music.
Carsen’s Der Rosenkavalier is a joy to observe and listen to. Rachel Willis-Sörensön is definitely a Marschallin to keep an eye out for and when Covent Garden revives this –soon rather than later – I hope that they will cast her again.