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Strauss' Der Rosenkavalier a Highlight of Met Season
| Article
# : |
11094 |
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Section : |
THE ARTS
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| Issue
Date : |
3 / 1986 |
602 Words |
| Author
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Paul Gregory
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In a season that is widely regarded as the least interesting in recent memory at the Metropolitan Opera, the splendid production given by the late Mrs. John D. Rockefeller of Richard Strauss' most popular opera, Der Rosenkavalier, is a dazzling exception. Starring the immensely gifted mezzo Tatiana Troyanos as Octavian, the Count Rofrano--one of that diva's trademark pants roles--and the illustrious soprano Gwyneth Jones as Octavian's aging lover, the worldly and wistful Marschallin, Princess von Werdenberg, the bittersweet masterpiece offers something for almost everyone.
As Octavian, Miss Troyanos is presenting herself with a combination of youthful lustiness and Old World chivalry that is not only irresistible, but also rather convincing as a portrayal of an amorous young man. The American-born singer's resonant voice is as rich and subtly modulated as it has ever been, and she seems to have grown in her interpretation of this demanding role. As the Marchallin, Miss Jones contrasts her young flame's ardor with a downplayed sophistication and restraint which creates a very winsome effect as a framework for her still powerful lyric soprano. A third outstanding performer in this glittering production is young Kathleen Battle as the ingenue Sophie, a role to which their own agility, precision, and cheerful tonality are perfectly suited.
Composed as something of a tribute to Mozart's Le Nozze di figaro, which also concerns an older aristocrat's affection for a much younger suitor behind her husband's back, Der Rosenkavalier represented a departure from the composer's earlier successes, Electra and Salome, both of which dealt with amatory subjects of a decidedly peculiar, and even perverse, nature. Shortly after Der Rosenkavalier's
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