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Jul 19, 2014 · Der Rosenkavalier represents the apogee of Richard Strauss's popularity, and perhaps of his life. He had a deep affection for it, a profound identification with it; in his will he stipulated that ...
Richard Strauss in 1910. Der Rosenkavalier ( The Knight of the Rose or The Rose-Bearer [1] ), Op. 59, is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. [2] It is loosely adapted from Louvet de Couvrai 's novel Les amours du chevalier de Faublas and Molière 's comedy Monsieur de ...
- German
- 26 January 1911, Königliches Opernhaus, Dresden
Mar 14, 2022 · When Richard Strauss and Hugo von Hofmannsthal finished the comic opera, Der Rosenkavalier, in 1909, it was a complete departure from the intense subject matter on which they had previously collaborated. The new farcical but deeply psychological opera was, in the words of the Earl of Harewood (opera historian), “a masterpiece of pastiche, an ...
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The Marschallin, with much bittersweet feeling, yields her place to the younger woman, and the trio becomes a duet for Sophie and Octavian. “We are together,” Octavian proclaims. “All else is like a dream.”. Betsy Schwarm. Der Rosenkavalier, comic opera in three acts by German composer Richard Strauss (German libretto by Austrian ...
- Betsy Schwarm
Feb 22, 2014 · Der Rosenkavalier (The Cavalier of the Rose) is a comic opera that premiered in 1911. It tells the tale of a young girl, the dashing young man she falls in love with, and how he outwits the pompous nobleman she is to marry. But the opera also has a bittersweet side, dealing with aging and loss. The setting is Vienna, in around 1740.
Apr 7, 2017 · Musil’s analytical novel is about how individual humans shape, and are shaped by, the tide of history; Richard Strauss and Hugo von Hofmannsthal’s sumptuous opera “Der Rosenkavalier ...
Jan 1, 2013 · Few operas make such refined demands as Der Rosenkavalier – and reward them so richly.In contrast to Fidelio, which can defeat the most valiant performers, the Richard Strauss/Hugo von Hofmannsthal comedy is such a great showcase for voice, orchestra and stagecraft that its body of recordings is a succession of riches unlike any other, partly because it’s a piece that performers can live with.
