“‘It is a dream, cannot be really true …’ – These heartfelt final words by the talented poet Hugo von Hofmannsthal, set in even more moving strains by his imaginative musical partner Richard Strauss, perfectly describe the high quality of the new production of their masterpiece Der Rosenkavalier at the Salzburg Festival. It is certainly the best and most universally satisfying staged opera of this summer, and that applies to direction, presentation, singers, conductor and orchestra alike.” (Opernnetz) Familiar as the work may be, the 150th anniversary of Richard Strauss’s birthday is marked with an innovation. For the first time at the festival, the opera is presented without the cuts made since the 1911 premiere, as demanded by the censor, on account of excessive frivolity. The figures stand out in sharper profile, with the most significant change being to the first-act monologue of Baron Ochs, which now clearly defines his high position. The roles are brilliantly cast: Günther Groissböck’s singing is “of the finest, with a juicy lightness that lends him an irresistible roguish charm.” (Morgenpost) Krassimira Stoyanova as Marschallin “was simply breathtaking with her vocal and dramatic presence, her consummate voice control and exemplary clarity of enunciation.” (Drehpunkt Kultur) The Octavian of the experienced Sophie Koch is a delightful young nobleman and Mojca Erdmann portrays a self-confident young bourgeoise seeking to improve herself; together, they are “the perfect Strauss dream”. (Neue Musikzeitung) Franz Welser-Möst is the audience’s darling at the rostrum of the Vienna Philharmonic. “The audience purred. They took delight in a fascinating transparency, a refinement worthy of chamber music.” (SZ) On the stage, the peerless master director Harry Kupfer and his set designer Hans Schavernoch recreate the 18th-century narrative in the era of the opera’s 1911 premiere. Vienna’s imperial edifices, parks, palaces and grand salons are imposingly projected aslant on the backdrop, opening up grand vistas on the widened stage. In this luxuriously elegant setting in black, white and grey, Harry Kupfer applies all his directorial artfullness to bring out the hopelessness of his precisely delineated characters and the tensions in their relationships. We sense “the aura of the eternally valid, timeless Gesamtkunstwerk, (…) dedicated to opulently sensual beauty. (…) Simply masterful!” (Nachrichten.at)


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