- German:
- The Knight of the Rose
Der Rosenkavalier
-
What is Der Rosenkavalier?
Der Rosenkavalier is a comic opera in three acts by Richard Strauss, with a libretto by Hugo von Hofmannsthal. Its premiere in Dresden within a year led to productions in Vienna, Munich, and Milan, becoming Strauss's most-performed opera.
The opera is set in Vienna in the mid-1700s and is notable for its female vocal parts. The character Octavian is a mezzo-soprano, and much of the love music is sung by women, with their final trio being a highlight. Strauss incorporated waltzes into the score, which, though anachronistic to the setting, became a popular feature.
2 Britannica SourcesCreated from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles. -
Who composed Der Rosenkavalier?
Der Rosenkavalier, a comic opera set in Vienna in the mid-1700s, was composed by Richard Strauss with the libretto written by Hugo von Hofmannsthal. Strauss began his work composing what he called a Komödie fĂŒr Musik (âcomedy for musicâ) before the libretto was complete and incorporated many waltzes into the score.
Strauss had two musical gods, Wolfgang Amadeus Mozart and Richard Wagner, and in his work they struggle for possession of his artistic soul. Despite some initial criticism, Der Rosenkavalier was and remains hugely popular.
4 Britannica SourcesCreated from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles. -
What is the basic story or plot of Der Rosenkavalier?
Set in Vienna in the mid-1700s, Der Rosenkavalier revolves around the Marschallin, her young lover Octavian, and the crude Baron Ochs. The story begins in the Marschallin's bedroom, where she and Octavian are interrupted by her cousin, Baron Ochs, who seeks a noble messenger to present a silver rose to his intended bride, Sophie.
The Marschallin suggests Octavian, disguised as "Mariandel," for the task. Octavian and Sophie meet and fall in love, much to the dismay of Ochs. In a plan to humiliate Ochs, "Mariandel" meets with him, leading to chaos and the arrival of Sophie and the Marschallin.
Ultimately, the Marschallin yields to the younger woman, and Octavian and Sophie unite. The opera explores themes of love, aging, and social class, with its famous trio being a highlight.
1 Britannica SourceCreated from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles. -
Who are the main characters in Der Rosenkavalier?
Der Rosenkavalier is an opera set in Vienna in the mid-1700s. The main characters are:
* The Marschallin, the field marshallâs wife (soprano)
* Octavian, Count Rofrano (mezzo-soprano)
* Sophie von Faninal (soprano)
* Baron Ochs (bass)
* Herr von Faninal, Sophieâs father (baritone)The opera revolves around the relationships between these characters, especially the love triangle involving the Marschallin, Octavian, and Sophie.
1 Britannica SourceCreated from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles. -
Where and when was Der Rosenkavalier first performed?
Der Rosenkavalier, a comic opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal, premiered on January 26, 1911, at the Dresden Royal Opera House. Within a year, it reached stages in Vienna, Munich, and Milan, and by 1913, it was produced in London and at the Metropolitan Opera House in New York City.
2 Britannica SourcesCreated from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles. -
What makes Der Rosenkavalier important or unique among operas?
Der Rosenkavalier stands out among operas for several reasons. It was the first collaboration between Richard Strauss and Hugo von Hofmannsthal, and it is known for its superb musical depiction of the central character, the Marschallin. Strauss created a unique subtle parlando (conversational) style for this opera, which he also used effectively in his later works.
The opera is dominated by female vocal parts, and the character Octavian is a trouser role (a woman dressed as a man). The opera incorporates waltzes into the score, which, while anachronistic for the opera's 18th-century Vienna setting, were a popular element in light opera at the beginning of the 20th century. Der Rosenkavalier has remained the most frequently performed of Straussâs operas.
2 Britannica SourcesCreated from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles.
Der Rosenkavalier, comic opera in three acts by German composer Richard Strauss (German libretto by Austrian dramatist Hugo von Hofmannsthal) that premiered at the Dresden Royal Opera House on January 26, 1911.
Background and context
Hofmannsthal had written the play upon which Strauss based Elektra, but Der Rosenkavalier was their first close collaboration. Hofmannsthal took several characters and elements of the plot from French composer Claude Terrasseâs operetta LâIngĂ©nu libertin (1907) and French dramatist MoliĂšreâs Monsieur de Pourceaugnac (1669). The composer set to work on what he called a Komödie fĂŒr Musik (âcomedy for musicâ) before the libretto was complete. Notably, Strauss worked many waltzes into the score. The waltz, an early 19th-century creation, was unknown in 18th-century Vienna, but it was a staple in light opera at the beginning of the 20th century.
Within a year of its Dresden premiere, Der Rosenkavalier had reached the stages of Vienna, Munich, NĂŒrnberg, Cologne, Hamburg, Milan (in Italian), and Prague (in Czech), among many other European cities. In 1913, productions would be staged both in London and at the Metropolitan Opera House in New York City. Not all observers were pleased. For example, at La Scala in Milan, purists booed the waltzes, which they viewed as suitable only for dance music. Nonetheless, Der Rosenkavalier was hugely popular and has remained the most often performed of Straussâs operas.
" height="20" alt="HEW Logo">
Der Rosenkavalier is dominated by its female vocal parts, although the music for the men is certainly effective. The young man Octavian is played by a mezzo-soprano (thus, a woman dressed in male clothing, known as a trouser, pants, or breeches role); one precedent for that circumstance is that of Mozartâs Cherubino from The Marriage of Figaro. Because Octavian is the lover of the Marschallin and the suitor of Sophie, all of the operaâs love music is sung by women. Their glorious final trio is one of the highlights of the opera and its best-known passage. Strauss loved the trio enough to request that it be performed at his funeral.
Cast and main vocal parts
- The Marschallin, the field marshallâs wife (soprano)
- Octavian, Count Rofrano (mezzo-soprano)
- Sophie von Faninal (soprano)
- Baron Ochs (bass)
- Herr von Faninal, Sophieâs father (baritone)
- Italian Singer (tenor)
- Three noble orphans, domestics, petitioners, officials, vendors
Setting and story summary
Der Rosenkavalier is set in Vienna in the mid-1700s
Act I
In the Marschallinâs bedroom she and her young lover, Octavian, are awakening from a rapturous night. Octavian hides quickly as a servant comes in with breakfast. Soon after he returns to bed, there is a clamour in the outer room. The Marschallin recognizes the voice as that of her overbearing and crude cousin, Baron Ochs. She tells Octavian to hide behind the screen and find some clothes. Ochs storms in, demanding his cousinâs attention. Although he is a nobleman, he has little money, so he intends to marry the young rich bourgeois Sophie. According to tradition, he must find a well-born messenger to present a perfumed silver rose to the woman as a marriage proposal.
The Marschallin mischievously recommends Count Rofrano (Octavian) for the job, and Ochs agrees. Octavian has reappeared, dressed in womenâs clothes as the housemaid âMariandel.â Ochs flirts with her. Meanwhile, a number of visitors arrive in succession, demanding the Marschallinâs attention. As an Italian tenor sings an aria, Ochs attempts to bully a notary into writing out a marriage contract that will favour him greatly. âMariandelâ slips away.
The trusted destination for professionals, college students, and lifelong learners.
SUBSCRIBE
After everyone has left, the Marschallin reflects on her lost youth. Octavian returns, in his own clothing, and the Marschallin tells him that sometimes she gets up in the night and stops all the clocks so as to hold time in its place. She declares that he will one day leave her for a younger woman, and he leaves in great distress. When she realizes that she has neglected to kiss him goodbye, she tries unsuccessfully to have him returned to her house.
Act II
In her fatherâs reception hall, Sophie von Faninal awaits the arrival of the Knight of the Rose. Handsome and elegantly dressed, Octavian arrives bearing the silver rose in advance of the bridegroomâs arrival. The two young people promptly fall for each other. Ochs comes in, accompanied by his loutish entourage, and he treats Sophie patronizingly. His excessive confidence alienates Sophie, who declares that she will not have him. When Ochs tries to force the issue, Octavian angrily draws his sword. The scene ends with chaos. Sophieâs father threatens to send her back to the convent (where she has been at school) if she does not agree to the marriage.
Act III
In a private room at a seedy inn, the scene is set for a plan meant to humble the obnoxious Ochs. âMariandelâ has agreed to meet him, and they arrive together. His plans of seduction repeatedly run awry with continual interruptions by other conspirators; the ensuing pandemonium brings in the police. Ochsâs mood is not improved by the arrival of Sophie and her father, who express shock. âMariandelâ hides and changes clothes and then returns as Count Rofrano. Next on the scene is the Marschallin. Faced with all the people he most wished to impress, Ochs grumpily rushes off. After Baron Faninal leaves, only the Marschallin, Octavian, and Sophie remain. They reflect upon their different perspectives on love. The Marschallin, with much bittersweet feeling, yields her place to the younger woman, and the trio becomes a duet for Sophie and Octavian. âWe are together,â Octavian proclaims. âAll else is like a dream.â