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Strauss, Richard - Der Rosenkavalier

Strauss (Actor), Richard (Actor), Andre Heller (Director) Format: Blu-ray

4.6 103 ratings

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Product Description

The Viennese aristocracy are no strangers to family feuds: boorish Baron Ochs auf Lerchenau interrupts the morning tête-à-tête between his cousin, the Marschallin, and her young lover Octavian, to ask for her help with his wedding plans, which are steered more by financial gain than love. Ochs does not suspect that Octavian himself, who is chosen to deliver the engagement rose, will eventually fall in love with the bride. After his dramatic one-act works Salome and Elektra, which were based on ancient myths, Richard Strauss was drawn to lighter, more cheerful material for his next opera in the style of Mozart's comic operas. His change of direction was embraced by Hugo von Hofmannsthal whose libretto created an artificial, rococo Vienna with customs and dialects as convincing as they are imaginary, which Strauss refined with anachronistic waltzes. This fantasy Vienna, bursting with joie de vivre, wit and traditional class boundaries, but which also bears traces of depression and morbidity, is not merely a reflection of the 18th century but also of the declining belle époque. Strauss' score offers the full range of rich orchestral timbres with an unrestrained indulgence that culminates in the unsurpassed closing section: yet deep ruptures also appear. Only a few years before the collapse of the Habsburg monarchy, The Rosenkavalier is a swansong to an entire epoch. Multimedia artist André Heller makes his highly anticipated debut as stage director at the Berlin State Opera with Richard Strauss' tragicomic 'Rosenkavalier' and the critics are full of praise: With his staging of 'Rosenkavalier' André Hellersets a monument to flawlessness (Die Zeit). Master conductor Zubin Mehta leads the fantastic orchestra of the Staatskapelle Berlin and a cast of singers, above all with Camilla Nylund and Günther Groissböck, which is unsurpassable (Frankfurter Allgemeine Zeitung). A Rosenkavalier production with a dream cast!

Product details

Aspect Ratio ‏ : ‎ 1.77:1
Package Dimensions ‏ : ‎ 6.77 x 5.35 x 0.47 inches; 2.82 Ounces
Director ‏ : ‎ Andre Heller
Media Format ‏ : ‎ NTSC
Run time ‏ : ‎ 4 hours
Release date ‏ : ‎ October 1, 2021
Actors ‏ : ‎ Strauss, Richard
Subtitles: ‏ : ‎ German, Italian, English, Japanese, French, Korean
Language ‏ : ‎ German (PCM 2.0 Stereo)
Studio ‏ : ‎ Arthaus Musik
ASIN ‏ : ‎ B099X5YVZX
Country of Origin ‏ : ‎ USA
Number of discs ‏ : ‎ 1

Best Sellers Rank: #200,961 in Movies & TV (See Top 100 in Movies & TV)
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4.6 103 ratings

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I wouldn't usually presume to write a review because while I love opera I haven't seen a live performance in many ...

Reviewed in the United States on February 5, 2016

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Well...I wouldn't usually presume to write a review because while I love opera I haven't seen a live performance in many years. I used to see the Met every year (Washington D.C. isn't so far and if I didn't care to go to New York they often came to the Kennedy Center). I chance to be widely traveled and often saw La Scala as a young man, both in Milan and Verona. And I have lots of CDs of course. I can't remember anything about the first performance of Rosenkavalier I saw, even where it was...probably La Scala. Except one thing...surprise and mild displeasure at Ottavian being a woman, which was obtrusively clear.

This Rosenkavalier is different. Fassbaender is obviously a woman certainly, but she is a marvelous actor. I am mostly gay, and cannot get much of the frisson Strauss intended from having two women on the stage, so having an Ottavian who is willing to forgo that and act like a boy is important to me. In this performance I could suspend disbelief. I thought Jones, Jungworth and Fassbaender were as good as you could possibly want. I wasn't impressed with Popp but I am sure I will be when I watch the opera again, because I always am with that marvelous singer (although before this it was always immediate, but then the sound on my television is not as good as it could be and for that matter my hearing is only intermittently as good as it was.). The orchestra was perfect...the performance has a tension that has you hanging on every note.
I recommend this highly, but I am sure you can recognize that I have limitations as a reviewer.

I think it is reasonably apparent that I love opera, so perhaps you are wondering why I have not seen a live performance in many years. It is because I got married. In my late thirties I wanted to have children, courted an intelligent young woman, and together we saw many many operas. When we were married, part of my scheme for our honeymoon was to see more. After a trip to Hatteras for fishing, and before a climax at Istanbul, we went to the Met, a box of course. The first opera was Macbetto...I know it's mediocre but I love it. The witches appeared, my eyes were full of tears at their opening notes, and I heard snores. My wife was fast asleep. Not that it was a bad performance--it was wonderful. But she had never had any interest in opera, and after sitting through forty or so she was married so why fake it? But I was traumatized and didn't even see the other two I had paid for. I'm divorced now, after thirty years, but spent the post divorce time in Florida and Turkey, where opera is not big. Still, perhaps I will see you at the Met.

5 people found this helpful

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Alex Craig

Could scarcely be better

Reviewed in the United States on March 12, 2018

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I’ve had this DVD on the shelf for some time, and I finally got around to watching it. Good idea! It immediately joined my two favorite video “Rosenkavaliers” (the late-50s Salzburg film with Elisabeth Schwarzkopf, Sena Jurinac, Anneliese Rothenberger, and Otto Edelmann, under Karajan; and the 1994 Vienna production with Felicity Lott, Anne Sophie von Otter, Barbara Bonney, and Kurt Moll, also under Carlos Kleiber).
Rosenkavalier was perhaps Kleiber’s favorite opera, and both his recordings are wonderful in their dramatic pacing, emotional understanding, and mastery of orchestral detail. His younger self is a bit more impulsive, with faster tempos.
The big surprise in this production was Gwyneth Jones. She was a great singing actress, but sometimes her singing wasn’t so good. Happily, this is not the case here. She does the best singing I’ve heard from her, and she shows a complete mastery of the Marschallin’s complex character. Neither she nor Lott can equal Schwarzkopf’s unique sophistication in her greatest role, but the both come close in their own ways.
Brigitte Fassbaender is not my favorite Octavian. She seems a bit too “mannish”, more like a modern teenager than an 18th-century one. This is especially true when she plays the disguised chambermaid and galumphs too much. But she sings beautifully. I prefer von Otter’s poise and grace; and as for Jurinac, she is so into the character that after a couple of minutes one completely forgets that she’s a woman.
Sophie is usually rather uninteresting, despite the wonderful music she has to sing. But Lucia Popp finds all sorts of interesting detail and makes her a fully rounded character. When you add her silvery voice and physical beauty, she has to be the definitive Sophie.
Manfred Jungwirth is a fine Baron Ochs. He has a really beautiful voice and isn’t afraid to use it, keeping the low-comedy shtick well in control.
All the smaller parts are well cast (the Annina is especially fetching) and the young Francisco Araiza does himself proud with the tenor aria. The sets and costumes are gorgeous.
Rosenkavalier is an opera that simply should not be messed with by directors. It lives and breathes Hofmannsthal’s idealized 18th-century Vienna, and nothing is gained (and much is lost) by updating it for greater “relevance”. All three DVDs mentioned above have exceptionally beautiful period sets and costumes. Enjoy them!

14 people found this helpful

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John A. Berntsen

and the hits just keep coming

Reviewed in the United States on June 29, 2023

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The way Amazon knows my taste in books

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johnelv

My Favorite Opera

Reviewed in the United States on July 10, 2013

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My favorite opera, in spite of the fact that Strauss is not actually my favorite composer of opera, but the fact is if I was only allowed to see one opera for the rest of my life it would be Der Rosenkavelier, and in particular, this production.

First, the sets are magnificent. Lush, in the first act in the Marschallin's bedchamber, opulent, almost to the point of garish, in Faninal's mansion in the second act, to downright sleazy in the final act.

Second, the cast. Gwyneth Jones, plays the Marschallin with such grace and dignity, it's almost hard to remember she's also my favorite, strident Brunhilde. The late great Lucia Popp is a magnificent and totally believable Sophie, in spite of her being, I believe, forty when this was filmed. Equally believable as the virile youngster Octavian, Count Rofrano, is Brigitte Fassbaender. Manfred Jungwirth plays the buffoon, Ochs, brilliantly. Altogether a wonderful cast.

Finally, the music is brilliantly interpreted by Kleiber, perfect tempos, and somehow has injected the humor and pathos into the music.

Highly recommended.

6 people found this helpful

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Stéphane B.

de l'art d'alléger la crème fouettée

Reviewed in France on December 18, 2010

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Je dois le reconnaître, j'ai longtemps émis des réserves sur le Rosenkavalier de R.Strauss que je percevais à la fois comme précieux et indigeste. Précieux en raison des excès de raffinements du livret, indigeste en raison d'une écriture orchestrale fastueuse et opulente à l'excès.
La découverte de cette production de l'opéra de Munich m'a fait changé d'avis. Ce n'était pourtant pas gagné car la mise en scène d'Otto Schenk ne va pas dans le sens de la légèreté, c'est même dans un véritable océan de crème fouettée qu'il nous plonge, bien aidé il est vrai par les décors somptueux et parfois un peu kitsch de Jürgen Rose.
Oui mais voilà, comme antidote absolue aux lourdeurs d'estomac, il y a Carlos Kleiber et c'est d'ailleurs sa présence qui m'a incité à surmonter mes préjugés, ce que je ne regrette pas.
Cet opéra était un de ses ouvrages préférés (si ce n'est son opéra fétiche) et il le dirigea plus de 150 fois entre 1964 et 1994.
Ce qu'il nous est donné à voir ici est une représentation de juin 1979 dans ce qui fut la production emblématique de l'opéra de Munich des années 70 et qui fut reprise à Vienne et Tokyo en 1994 (sans Otto Schenk) pour ce qui devait être la dernière représentation d'opéra dirigée par Carlos Kleiber.
En 1979, cette production, bien rodée, était sans doute à son zénith. Côté distribution, elle est marquée, à mon sens, par une interprète de génie : Brigitte Fassbaender. Je n'ai pas beaucoup de recul sur cet opéra, mais je n'imagine pas une interprétation plus convaincante du rôle d'Octavian. A la base, Fassbaender à un gros avantage : un physique naturel de garçon manqué, elle y ajoute une totale compréhension de la psychologie d'un garçon de 17 ans dont elle traduit idéalement la fougue, l'audace, la sensualité mais aussi l'espièglerie ; et comme la performance vocale est à l'avenant, nous sommes en présence d'une très forte incarnation lyrique, de celles qui marquent le temps et les esprits.
Lucia Popp est vocalement une Sophie de rêve, le rôle semble écrit pour elle. Oserais-je une minime réserve ? en 1979, elle a 40 ans et correspond sans doute plus à l'idée que l'on se fait de la Maréchale que d'une oie blanche comme Sophie. Peu importe, la beauté de sa voix nous fait oublier ce détail. Côté Maréchale, c'est un peu le problème inverse, la voix n'est pas idéale, Gwyneth Jones n'a jamais été la meilleure chanteuse du monde, la voix est toujours aussi instable. Oui mais voilà, il y a l'incarnation et quelle incarnation, elle s'est totalement fondue dans la peau de la Maréchale avec qui elle ne fait qu'un. Elle habite son rôle dont elle exprime à la fois la prestance, la sensualité mais aussi la tristesse et la mélancolie devant l'inexorable marche du temps. On en finit par oublier ses petits problème de justesse et son vibrato incertain.
Face à ce trio de dames souveraines, le baron Ochs de Manfred Jungwirth fait le métier. A vrai dire le rôle est presque inratable, en effet, on ne lui demande pas de bien chanter, mais d'être gras, vulgaire et bête, ce que Jungwirth fait parfaitement.
Mais le grand triomphateur de la soirée est bien évidemment Carlos Kleiber, le « magicien » n'attend même pas que les applaudissements cessent pour lancer son orchestre et nous faire décoller de terre. Sa direction d'orchestre est la quintessence de l'élégance et il transfigure tout ce l'écriture de Strauss pourrait avoir de trop riche. Cette sublime comédie, cette joyeuse farce faite au Baron Ochs dure quand même trois heures qui m'ont semblé s'être écoulées en un instant.
Sublime.

24 people found this helpful

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John Finlay

A very traditional Rosenkavalier

Reviewed in Canada on June 4, 2022

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Easy to watch and beautifully sung!

I. Zaneres

Three fantastic ladies take silver rose

Reviewed in the United Kingdom on July 17, 2015

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Lets start with the sound, it is bright , clear and well balanced, a very good start to this brilliant production. The picture quality is as good as one could expect for its age, close ups pretty good but a bit fuzzy on long shots but not detrimental to the production.
The first set is luxuriously brilliant and creates a great atmosphere, and it becomes apparent that no expense has been spared on the costumes.
I expect the plot is is familiar to most, but to give a potted resume the Marschallin beautifully portrayed and sung by Gwyneth Jones is having an affair with her young cousin, Octavian, Brigitte Fassbaender, who is suitably infatuated with the older lady.
Enter the bombastic, big headed relative Baron sung by Manfred Jungwirth who wants to marry into new money, and in line with tradition wants a Rose bearer to present him to his intended family, The Marschallin suggests Octavian, who by this time is disguised as a maid to avoid embarrassment, and has taken the Barons fancy. Worthy of mention is Francisco Araiza as "A singer" in the presentation scene, lovely voice but he does have one broken note in the reprise.
The set for Faninals town house, for such is the name of the intended family, is equally resplendent, floor to ceiling dressers with choice ceramics, large flower displays and floor to ceiling windows. Central is a magnificent chandelier. Sophie is sung by the delightful Lucia Popp, and an obvious attraction takes place between Octavian and Sophie. Faninal, Benno Kusche, is rather disappointing in that he has a rather wavery voice that is not to my taste. The crass Baron with his equally crass retinue horrify the delightful Sophie, whilst Faninal makes excuses for he wants to break into the high society through his daughters marriage.
Act three is set in a seedy hotel suite, where the Baron has designs on seducing The Marschallins maid, Octavian in disguise, and a plot is afoot too discredit the Baron, it all works very well and very humorously, and Faninal walks in to the situation, all is lost to the Baron who is so thick skinned he refuses at first to accept the situation.
The Marschallin walks in and sets things straight, but also realises that Octavian and Sophie are attracted and she must relinquish her relationship with Octavian. The final trio of superb interwoven voices of the three ladies is surely one of operas finest moments, here sung by three of the finest exponents, could not be bettered.
I rest my case, even if you have one of the other fine versions of which there are quite a few, this should be a must for your library.

6 people found this helpful

Mark I. Lloyd

Der Rosenkavalier Munich 1979 - super performance with a legend in charge

Reviewed in the United Kingdom on September 8, 2015

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Taken from a series of performances at the Munich Nationaltheater in May and June 1979. As suggested by the DVD cover photograph, this is a lavish traditional staging of Strauss's masterpiece. Gwyneth Jones is perfect as the Marschallin, her singing truly divine (vocally there is barely any unwieldiness), her deportment and acting exquisite. Brigitte Fassbaender is excellent as Octavian, and despite being obviously feminine, manages to appear and act like a teenage boy. Lucia Popp's ingenuous Sophie and Manfred Jungwirth's youthfully boorish Baron make up a great set of principals. Supporting cast are good, and overall the cast and production are polished and accomplished. Conducting legend Carlos Kleiber, with his usual clear vision, intense preparation and attention to detail, serves up the music as if heard fresh, illuminating the score from within.

Picture and sound are excellent. There are optional subtitles and sensible chapter points. The illustrated booklet includes a synopsis and interesting notes about the production. Highly recommended, a recording to treasure.

4 people found this helpful

S. Mauss

Ist ein Traum, kann nicht wirklich sein

Reviewed in Germany on August 24, 2005

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Endlich ist er da, der "erste" Kleibersche Rosenkavalier aus München- und er muss sich hinter der späteren aufwändigeren Wiener Produktion keineswegs verstecken. Wer wie ich das Glück hatte, diese Produktion mehrmals in München zu sehen, wird sofort wieder an diese magischen Momente zurückerinnert, in denen man vom ersten Takt an spürte, dass man Zeuge etwas ganz "ungeheuerlichen" war. Kleibers Zugang zur Partitur ist in München noch etwas "radikaler" als in Wien. Von den Sängern demonstriert vor allem Brigitte Fassbaender als Octavian, dass sie in dieser Rolle eine Klasse für sich war und ist, eine singuläre Leistung. Gwyneth Jones gelingt es als Marschallin ihre große, in der Höhe überscharfe Stimme gut unter Kontrolle zu bringen und damit eines ihrer besten Rollenportraits hier zu präsenteren. Manfred Jungwirths Ochs kommt zwar an Kurt Moll nicht heran, bietet aber eine vollblütige, glaubhafte Leistung. Lucia Popp ist eine hinreissende Sophie, wie schade, dass es keine Aufnahme ihrer Marschallin mit Kleiber am Pult gibt. Alle anderen Rollen sind ebenfalls mehr als rollendeckend besetzt, und Francisco Araizas "Kiekser" bei der Sängerarie vermittelt zudem ein echtes Live-Gefühl. Auch wer den Wiener "Rosenkavalier" unter Kleiber schon besitzt, braucht diese DVD, die zudem in Klang und Bild wesentlich brillanter daherkommt als die alte VHS-Kassette, auf der die Aufnahme bisher nur greifbar war.

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