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portrait of Strauss

Composed: 1909-10

First Performed: 1/26/1911

Rating: 3.500 (1 rating)

Genre: classical > opera

Quotable: --

Work(s): *

  1. Der Rosenkavalier, opera, Op. 59 (TrV 227) [191:40]
* Number in [] indicates average duration of piece.


  1. Prelude

    Act I:

  2. "Wie du warst! Wie du bist" (Octavian)
  3. "Der Feldmarschall sitzt im krowatschen Wald"
  4. "Selbstberstandlich empfangt mich Ihro Gnaden" (Baron)
  5. "Macht das einen lahmen Esel aus mir?" (Baron)
  6. "I komm' glei"
  7. "Drei arme adelige Waisen" (Die 3 Waisen)
  8. "Di rigori armato il seno" (Der Sanger)
  9. "Mein lieber Hippotyte"
  10. "Da geht er hin" (Marschallin)
  11. "Ach, du bist wieder da!" (Marschallin, Octavian)
  12. "Die Zeit, die ist ein sonderbar Ding"

    Act II:

  13. "Ein Ernster Tag, ein grosser Tag!" (Faninal)
  14. "In dieser feierlichen Stunde der Prufung" (Sophie)
  15. "Mir ist die Ehre wiederfahren" (Presentation of the Rose) (Octavian)
  16. "Ich kenn' ihn schon recht wohl"
  17. "Jetzt aber kommt mein Herr Zukuftiger" (Sophie)
  18. "Hab' nichts dawider"
  19. "Mit Ihren Augen voll Tranen" (Octavian)
  20. "Herr Baron von Lerchenaul" (Annina)
  21. "Da lieg' ich!" (Baron)
  22. "Baron Ochs' Waltz"

    Act III:

  23. Prelude
  24. "Hab'n Euer Gnaden" (Der Wirt)
  25. "Nein, nein! I trink' kein Wein" (Octavian)
  26. "Wie die Stund' hingeht"
  27. "Halt! Keiner ruhrt sich! (Kommissarius)
  28. "Ihre hochfurstliche Gnaden"
  29. "Ist halt vorbei"
  30. "Mein Gott, es war nicht mehr" (Sophie)
  31. "Heut oder morgen oder den ubemachsten Tag"
  32. "Marie Theres'... Hab' mir's gelobt" (Marschallin)
  33. "Ist ein Traum", Finale (Sophie, Octavian)

Sales: - NA -

Peak: - NA -

Singles/ Hit Songs: - NA -


Der Rosenkavalier
Richard Strauss (composer)
“Some regard Der Rosenkavalier as Strauss’ finest opera, and indeed, it has remained consistently popular since its premiere in 1911. Composed during 1909 and 1910 – immediately after Elektra, Strauss’ first collaboration with dramatist Hugo von Hofmannsthal – Der Rosenkavalier is an original story, conceived jointly by Hofmannsthal and Strauss through extensive correspondence. It represents an intentional departure from Elektra (an adaptation of Sophocles’ play) in both substance and tone, and the result is one of the most sophisticated libretti ever written — full of subtle exchanges and turns of literary phrase. While the story was to have been a farce hinging upon the revelation of the character Mariandel as Octavian, Hofmannsthal developed the libretto into a more complex plot in which the primary narrative concerns the shifting relationship between the Marschallin and Octavian.” JZ

“Hofmannsthal cast the drama in three acts, a more traditional scheme than Elektra’s extended one-act plan, and perhaps a nod to the work’s eighteenth century setting. Strauss also makes use of a conspicuously conservative musical idiom, eschewing the frankly dissonant and often abrasive textures he had used in both Elektra and Salome. At the same time, the orchestration of Der Rosenkavalier is both richer and marked throughout by delicate and shimmering sonorities. Strauss uses waltzes throughout the score to evoke a sentimental mood and to denote the middle-class sensibilities of Baron Ochs. Waltz themes are integral to each act, and the opera’s orchestral waltz sequences, along with the more formal Rosenkavalier Suite (1945), remain popular as independent concert works. The opera’s most impressive music occurs in the Act Three Trio between Oktavian, Sophie, and the Marschallin. Here, Strauss uses the three women’s voices to convey the emotions of a young ingenue, her youthful suitor, and the mature Marschallin to great effect, the orchestra providing a telling underscoring. The static quality of the Trio creates an elegiac mood that at once combines the expression of youthful love with mature restraint.” JZ

Der Rosenkavalier, premiered in Dresden in January 1911, was received with great enthusiasm. The opera has remained a fixture of the stage, as evidenced by new productions in every decade since. Strauss attempted to recapture Der Rosenkavalier’s popular appeal in his subsequent stage works; while some, like Arabella (1929-1932), are outstanding, they never eclipsed the successful alchemy of text and music that has ensured Der Rosenkavalier’s permanence.” JZ

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Last updated June 11, 2011.