"Der Rosenkavalier" Grand Theatre

Based on a libretto (in German) by Hugo von Hofmannsthal.

CHARACTERS:

PRINCESS OF WERDENBERG, Marshal (soprano)
BARON OX AUF LERCHENAU (bass)
OCTAVIAN, her lover (mezzo-soprano)
MR VON FANINAL, rich new nobleman (baritone)
SOPHIE, his daughter (soprano)
MARIANNA, her duenna (soprano)
WALZACCHI, Italian intriguer (tenor)
ANNINA, his accomplice (contralto) POLICE COMMISSIONER (bass)
MAJORDO MARSHALS (tenor)
MAJORDO FANINAL (tenor)
NOTARY (bass)
HOTEL KEEPER (tenor)
SINGER (tenor)
FLUTIST (silent role)
HAIRDRESSER (silent role)
SCIENTIST (silent role)
THE NOBLE WIDOW MAHOMET, page (silent role)
THREE NOBLE ORPHANS: soprano, mezzo-soprano, contralto
Milliner (soprano)
ANIMAL SELLER (tenor)

Time of action: mid-18th century.
Location: Vienna.
First performance: Dresden, January 26, 1911.

There is a funny story about Der Rosenkavalier and the author of this opera - a story that, as the Italians say, si non e vero, e ben trovato (Italian - if it is not true, it is well invented). The opera was staged in 1911. And a few years later, the composer himself - and this was for him for the first time - conducted its performance. In the last act, he leaned over to the violin accompanist and whispered in his ear (without interrupting the performance): “This is terribly long, isn’t it?” “But, maestro,” the accompanist objected, “you wrote it that way yourself.” “I know,” Strauss said sadly, “but I never imagined that I would have to conduct this myself.”

The complete, uncut version of the opera, not counting intermissions, lasts almost four hours. But the most striking thing is that the light comedic character is invariably preserved throughout the entire action of the opera. It is also surprising that, despite such a long performance, this opera became the most popular of all Richard Strauss's operas. It forms the basis of the repertoire of all the great opera houses in England, the United States of America and Central Europe (in Latin countries it received a somewhat less enthusiastic reception); and together with Wagner's Die Meistersinger it is considered the best comic opera born on German soil since Mozart. Like Die Meistersinger - there are such coincidences - it was initially conceived as a fairly short work, but the composer was so carried away by the idea of ​​​​creating a full-scale portrait of a certain phase in social history that, as the work progressed, he went into unusual detail. No one who loves this work will refuse any of these details.

ACT I

One of those “details” to which librettist Hugo von Hofmannsthal did not initially attach much importance turned out to be the main character of the work. This is Princess von Werdenberg, the wife of the field marshal, and therefore she is called Marshal. Strauss and Hofmannsthal conceived her as a very attractive young woman in her thirties (on stage, unfortunately, she is often performed by overripe sopranos). When the curtain rises, we see the princess's room. Early morning. In the absence of her husband, who has gone hunting, the hostess listens to the love confessions of her current young lover. This is an aristocrat named Octavian; he's only seventeen. The marshal is still in bed. Their farewell is full of pathos, since the princess realizes that the difference in their ages must inevitably put an end to their relationship.

The voice of Baron Ochs auf Lerchenau is heard. This is the princess's cousin, rather stupid and rude. No one was waiting for him, and before he bursts into the room, Octavian manages to put on a maid's dress. Since his part was written for a very light soprano (Hofmannsthal had in mind Geraldine Ferrar or Maria Garden), Ocs is misled: he takes Octavian for a maid and tries to court her throughout the entire scene. In essence, he came to ask his cousin (Marshal) to recommend him a noble aristocrat as a matchmaker (Knight (Cavalier) of the Rose) in order to fulfill the traditional custom, that is, to present a silver rose to his bride, who turns out to be Sophie, the daughter of the rich nouveau riche von Faninal. Ox also needs a notary, and his famous cousin invites him to wait, because her own notary, whom she called to her in the morning, is about to appear here, and then the cousin will be able to use him.

The Marshall's begins receiving visitors. Not only a notary comes, but also a hairdresser, a widow from a noble family with large offspring, a French milliner, a monkey dealer, the nosy Italians Valzacchi and Annina, an Italian tenor and many other strange characters - they all want something from the Marshal. The tenor shows off his mellifluous voice in a lovely Italian aria, which at its climax is interrupted by Baron Ochs' loud discussion with the notary about the dowry.

Finally, the Marshal is left alone again and in “Aria with a Mirror” (“Kann mich auch an ein Miidel erinnern” - “Can I remember the girl?”) she sadly reflects on what changes for the worse have occurred in her since then how she was a young blooming girl like Sophie von Faninal. The return of Octavian, this time dressed for riding, does not change her sad, nostalgic mood. He convinces her of his eternal devotion, but the Marshal knows better how it will all turn out (“Die Zeit, die ist ein sonderbar" Ding” - “Time, this strange thing”). She says that soon everything will have to end. And with these words sends Octavian away. Perhaps she will see him later today, while riding in the park, or maybe not. Octavian leaves. Suddenly she remembers: he didn’t even kiss her goodbye. But it’s too late: the door is behind him It's already slammed shut. She's very sad, but she's a smart woman.

ACT II

The second act takes us to von Faninal's house. He and his maid Marianne are delighted at the prospect of his daughter marrying an aristocrat, but his reputation may suffer. Today is the day when Octavian is expected to bring a silver rose on behalf of Baron Oxus. And soon after the action begins, a formal ceremony takes place. This is one of the most beautiful episodes of the opera. Octavian is dressed unusually magnificently, according to the circumstances - in a white and silver suit. In his hand is a silver rose. He and Sophie suddenly fall in love at first sight. Looking at the girl, the young count asks himself the question: how could he live without her before (“Mir ist die Ehre wiederfahren” - “This is an honor for me”). Soon the groom himself arrives - Baron Ochs with his retinue. His behavior is really very rude. He tries to hug and kiss his bride, but every time she manages to dodge him. This only amuses the old rake. He goes into another room to discuss the terms of the marriage contract with his future father-in-law. He is so self-confident that he even advises that Octavian should teach Sophie a thing or two about love while he is away. This training has not progressed much when they are suddenly interrupted by angry servants. It turns out that the baron’s people, who came with their master, tried to flirt with von Faninal’s maids, who did not like all this at all.

Octavian and Sophie have a very serious conversation, because they both know that the Baron intends to marry Sophie, which is completely impossible for her. Meanwhile, as both of them become more and more carried away by each other, completely losing their heads, Octavian promises to save Sophie. In a fit of emotion, they hug (“Mit ihren Augen voll Tranen” - “With eyes full of tears”). Two Italians who we met in passing in the first act - Valzacchi and Annina - suddenly appear from behind a decorative stove just at the moment when the lovers passionately embrace; they see it all. They loudly call on Baron Ochs, hoping that he will reward them for espionage (they, after all, entered his service). A very colorful and hectic scene follows. Sophie categorically refuses to marry Ox; Oks is amazed at this turn of events; Faninal and his housekeeper demand that Sophie marry, and Octavian becomes more and more angry. In the end, Octavian throws an insult at the baron, grabs his sword and rushes at him. The Baron, in a panic, calls his servants for help. He is slightly wounded in the arm, is terribly frightened by this and loudly demands a doctor to come to him. The doctor who appears states that the wound is trivial.

Finally the baron is left alone. First he thinks about death, then he seeks solace in wine and gradually forgets about all his misfortunes, especially when he discovers a note signed “Mariandle”. This, he thinks, is the servant girl whom he met in the first act in the Marshalsha's house; This note confirms the date of the meeting. "Mariandle" is none other than Octavian himself, who sent her to Oxus out of mischief. Meanwhile, the news that he has so definitely been assigned a date with a new girl encourages the baron. With this thought - not to mention the wine he has drunk - he hums a waltz. Some fragments of this famous waltz from Der Rosenkavalier had already slipped through during the action, but now, at the end of the second act, it sounds in all its splendor.

ACT III

Two of the baron's servants - Valzacchi and Annina - are making some mysterious preparations. The Baron did not pay them properly, and now they have gone into the service of Octavian, overseeing the preparations of the chambre separee (French - separate chambers) in a hotel somewhere on the outskirts of Vienna. The apartment has a bedroom. The Baron is supposed to come here on a date with Mariandl (that is, Octavian in disguise), and a terrible surprise is being prepared for him. There are two windows in the room, they suddenly swing open, strange heads appear in them, a rope ladder and a lot of all kinds of devilry, which is why the old man, according to the plans of his enemies, should completely lose his mind.

And finally the baron himself appears here. At first, everything seems to start out quite well. A Viennese waltz plays offstage, and Mariandl (Octavian) feigns excitement and shyness. Soon something strange begins to happen. The doors swing open, and - as planned - Annina bursts into the room in disguise with four children. She declares that the Baron is her husband, and the children address him by calling him "Dad". In complete confusion, the Baron calls the police, and Octavian, in disguise, quietly sends Valzacchi for Faninal. The police commissioner appears. The pathetic baron does not make any impression on him, and besides, the baron managed to lose his wig somewhere. Faninal arrives next; he is shocked by the behavior of his future son-in-law, who finds himself in the same room with a stranger. Sophie is also here; With her arrival, the scandal grows even more. The latter is the Marshal in all her dignity; she sternly reprimands her relative.

Finally, morally completely broken, and also under the threat of paying a huge bill for the party, Oks, happy to finally get rid of this whole nightmare, leaves (“Mit dieser Stund vorbei” - “There is no more point in staying”). The others follow him. This is where the denouement and climax of the opera comes.

In a wonderful terzetto, Marshalsha finally gives up her former lover, Octavian, and gives him - sadly, but with dignity and grace - to her young charming rival, Sophie (“Hab" mir "s gelobt" - “I swore to love him”) . Then she leaves them alone, and the final love duet is interrupted only for a short moment when the Marshal brings Faninal back to say parting words to the young.

“This is a dream... it can hardly be true... but let it continue forever.” These are the last words that the young lovers utter, but the opera does not end there. As they move away, a little black page, Mohammed, runs in. He finds the handkerchief that Sophie dropped, picks it up and quickly disappears.

Henry W. Simon (translated by A. Maikapara)

In one of Hofmannsthal’s letters to Strauss (dated February 11, 1909) we find the following joyful message: “During three quiet days I completely completed a very lively libretto for a semi-serious opera with brightly comic figures and situations, colorful, almost transparent action, in which there is an occasion for poetry, jokes, humor and even a little dancing.” The opera takes place at the height of the 18th century (the resurrection of the era is similar to what takes place in Mozart’s “The Marriage of Figaro,” according to the same Hofmannsthal). But in Strauss’s music, the recreation of historical settings is dominated by the recreation of things much more attractive from a musical point of view: rationally ordered feelings and passions, a sense of life balance, happiness, light humor even in the most delicate situations - features that distinguished the refined society of that time, the current against the folk background, merging with it and therefore integral. These qualities seemed irretrievably lost in Electra and Salome, with their fiery but tragic plots, where passion was tantamount to death.

The flow of events in Der Rosenkavalier is based on a 19th-century dance form, the waltz, which becomes an element of the stylistic unity of the entire opera - a deeply European opera, in the spirit of that old Europe that approached the threshold of the First World War unscathed: this is Europe, of course, of the lucky few , where, in spite of everything, the joy of life still remains, even in the midst of empty decency and ostentatious gallantry. Here we have entertainment in its purest form, the sensuality of brilliant eroticism, immersion in sweet pristine nature, playful comedy and at the same time magic. The latter is personified by the rose, which exalts youth (the future) in a kind of congratulatory ritual. The chords of flutes, solo violins, celestas and harps produce a crystal sound, like a light, weightless silver fabric, flowing magical light that has no equal.

In the final trio, when all action is interrupted, the charm takes on a lyrical character: Strauss takes the characters' speech beyond the limits of comedy by purely musical means, without which the text itself could not convey this interweaving of silent questions. The thoughts and feelings of the three characters merge, and if the words separate them, depicting hesitation and confusion, then the musical fabric unites them, representing an amazing combination of harmonies. The parties of heroes, each dedicated to the riddle of life, are reconciled in a kind of higher contemplation, although they remain unanswered. The Marshal and Octavian reflect on the fate of love, its birth and death, while Sophie tries in vain to unravel human nature. Their questions hang in the air, because inconsistency is the law of life. Modulations, collisions and rhythmic discord, chromaticisms and complex paths of development transform into an emotionally intense crescendo, remaining parallel and not intersecting at one point. The mystery of human relationships remains unsolved.

G. Marchesi (translated by E. Greceanii)

“Der Rosenkavalier” is the pinnacle of R. Strauss’s work. Permeated with the intonations of Austrian everyday music, with witty intrigue, the opera immediately won success with the public. The language of the opera is, at the same time, very modern. Therefore, it is not perceived as some kind of stylization. The Russian premiere took place in 1928 in Leningrad (Mariinsky Theater) directed by Dranishnikov. The final terzetto belongs to the best pages of the composer's work. An outstanding recording of the opera was made by Karajan.

Discography: CD - EMI. Dir. Karajan, Marchalsha (Schwarzkopf), Octavian (Ludwig), Baron Ochs (Edelman), Sophie (Stich-Randall), Faninal (Wächter), Italian tenor (Hedda) - Sony. Dir. Bernstein, Marchalsha (Ludwig), Octavian (G. Jones), Baron Ochs (Berry), Sophie (Popp), Faninal (Gutstein), Italian tenor (Domingo).

RichardStrauss wrote an opera"Der Rosenkavalier"in 1909-1910 to a libretto by Hugo von Hofmannsthal. The first production took place on January 26, 1911 at the Royal Opera House (Dresden). In Russia, the premiere took place in 1928 at the Leningrad Opera and Ballet Theater (now the Mariinsky). Later, the works of Richard Strauss were rarely heard in the Soviet Union, some of them were even banned. Fortunately, the situation is changing, for example in DecemberMoscow Chamber Musical Theater named after B.A. Pokrovsky was staged for the first time in Russia "Idomeneo" by W.-A. Mozartedited by Richard Strauss ( ).

At the Bolshoi Theater above the opera"Der Rosenkavalier", the premiere performances of which took place on April 3, 4, 6, 7, 8 and 10, was performed by an international team: director-producer - Stephen Lawless, x production designer - Benoit Dugardin, costume designer - Sue Willmington, lighting designer - Paul Payant, choreographer - Lynn Hockney, inIn the main cast, the main roles were performed by Melanie Diener (Marshalsha) and Stephen Richardson (Baron Ochs, Marshalsha's cousin). I chose for myself“home” second lineup as of April 10, 2012, but even there they are all “Varangians”:
Marshal's wife — Ekaterina Godovanets, graduate of the Paris National Conservatory, since 2012 soloist of the Nuremberg State Opera (Germany);
Baron Ochs von Lerchenau - Austrian Manfred Hemm, famous for his Mozart repertoire;
Faninal - German baritone Michael Kupfer, specialist in the Austro-German repertoire (Mozart, Lortzing, Beethoven, Wagner and, of course, Richard Strauss);
Octavian — Alexandra Kadurina, graduate of the Bolshoi Youth Opera program;
Sophie — Alina Yarovaya, graduate of the Bolshoi Theater Youth Opera Program;
Valzacchi— Princeton graduate Jeff Martin;
Annina- People's Artist of Russia Irina Dolzhenko.

The action takes place in Vienna, during the early years of the reign of Maria Theresa (1740s).
Libretto by Hugo von Hofmannsthal.
Music - Richard Strauss.
Stage conductor - Vasily Sinaisky.
The opera is performed in German (in three acts — 4 hours 15 minutes).

Due to the long duration of the opera (and contrary to the usual delay of about ten minutes for the Bolshoi), the performance began minute by minute: that is why the spectators who were late and lingered at the buffet were surprised! The supra-titles accompanying the performance with awkward figures of speech caused even greater surprise in the audience: "Is this not giving you away?" (in the sense of “don’t you think?”), “Take away this horse in mourning” (about Annina in disguise), “I am charmed by such sophistication” (i.e. enchanted)... The fact is that Hofmannsthal’s masterfully written libretto abounds not only in pearls of fine literature, but also in the colloquial Viennese dialect. And the cited “blunders” of Baron Ochs von Lerchenau very accurately characterize his level of “culture”: throughout the opera, this comic character was “properly” mocked not only by the Marshal who despised him (of course, together with the librettist), but also by the composer himself.
Hugo von Hofmannsthal wrote: “It must be admitted that my libretto has one significant drawback: much of what makes up its charm is lost in translation.”

Opera conductor and chief conductor of the Bolshoi Theater Vasily Sinaisky: " This is music of amazing beauty, full of magnificent melodies, primarily waltzes. This opera has an extremely entertaining intrigue and a very strong comic and playful aspect. And the characters look like absolutely living people, since everyone is written out very clearly, and each has their own psychology. During rehearsals, I constantly tell the orchestra: play it like Mozart’s operas - with charm, charm and at the same time with irony. Although this score embodies both light, ironic Mozart and dramatic, intense Wagner" .

However, there is an eloquent “opera story” on this topic: once the composer, standing at the conductor’s stand, in the third act of the opera “Der Rosenkavalier” whispered to the violin accompanist: “This is so terribly long, isn’t it?” - “But, maestro, you wrote it yourself!” “I know, but I never imagined that I would have to conduct myself.”
So some episodes could have been shortened, just as Richard Strauss himself, in turn, edited Mozart’s “Idomeneo”, reducing the score to two hours of sound. IN In the first act, for example, Marshalsha’s philosophical reasoning is too drawn out (or the case of “Tatiana’s letter” in “Eugene Onegin” - both briefly and heartfelt).
Although the opera as a whole, thanks to the waltzes, ironic mood and light plot (with a reference to the “love triangle” of Countess-Cherubino-Fanchette from Beaumarchais’s comedy “Crazy Day, or The Marriage of Figaro”), the Moscow audience received it favorably. What can we say about Austria and Germany, where “Der Rosenkavalier” is as popular as “Eugene Onegin” or “The Queen of Spades” here!

“Der Rosenkavalier” is a densely populated opera, and its plot has many secondary lines: there are intricately intertwined love affairs, and the dressing up of a young lover as a maid (and Baron Ochs immediately fell for “such a beauty”), and the scams of hardened swindlers and the intriguers Valzacchi and Annina, who eventually sided with Octavian and played an important role in achieving a successful outcome... But, most importantly, the opera became a real monument to Vienna, the world capital of waltzes, of which the audience is constantly reminded by the Marshals alcove with a gilded openwork dome ( exactly like on the building of the Vienna Museum Secession), then Baron Ochs waltzing in an embrace with a copy of the Viennese monument to Johann Strauss, then ten stand-ins lined up like members of the famous Viennese Boys Choir "children of the baron", under the leadership of the "abandoned" Annina, singing the endless "papA-papA-papA".

In addition, each action of the opera corresponds to costumes and scenery of a certain era (and on the stage backdrop “at all times” there is a luminous dial - to inform the audience about real time, the director’s irony: there are... hours left until the end of the performance).
In the first act, this is the year 1740, the aristocratic era of Maria Theresa and her namesake Field Marshal, Princess Werdenberg (the action takes place in a huge princely bedroom, where the size of the alcove resembles a tent and can turn into a miniature stage for performances by invited musicians, dancers and an Italian tenor, and even Luciano Pavarotti himself loved to perform in this bright episode of the opera). The second act is the mid-nineteenth century, the heyday of the bourgeoisie, the plot develops in the house of Faninal, a wealthy member of the middle class who dreams of intermarrying with an aristocratic family by marrying his daughter Sophie to the arrogant Baron Ochs. It is here, against the backdrop of luxurious display cabinets with porcelain, that the central event of the opera takes place - the ceremony of presenting a silver rose, a traditional gift from the groom (on behalf and on behalf of the Baron his fiancee Sophie a trinket scented with rose oil is presented by seventeen-year-old Octavian, recommended by Marshal for the honorable mission of “Der Rosenkavalier”), a scene that became the beginning of love at first sight for both young characters. For the third act, the beginning of the twentieth century and the democratic public park of Vienna - the Prater, which equalized all classes, were chosen. The finale once again returns the audience to the aristocratic apartments of the Marchalchi: the opera moves to a sensitive denouement, and all the minor characters leave this huge hall. But after Octavian’s farewell to Marshalsha, who gives way to his young rival Sophie (the famous trio, often performed as a separate concert number), all, all, all the characters noisily and cheerfully return to the stage again - this time to bow.

Alexander Gusev
Let's start with the fact that the composer Richard Strauss, a German, has nothing to do with Johann Strauss, a Viennese with an admixture of Jewish blood. He was born in the 19th century, but his work dates back to the 20th century, of which he is one of the most famous composers. He wrote his first operas - "Salome" and "Electra" - in a clearly expressive manner: a huge orchestra is Wagner's legacy. Both operas managed to come to the Russian stage before 1914. You can read more about this in the memoirs of the director of the Imperial Theaters, Telyakovsky. Then some changes occurred in Strauss's work, and as a result the opera appeared Rosenkavalier, which can be translated in different ways. The generally accepted translation is "Der Rosenkavalier". Actually, it’s more correct to say “Cavalier with a Rose.” But this is not entirely harmonious and causes a stream of allusions and jokes. Recently, “Der Rosenkavalier” has become more popular.

According to the plot, its hero is a young man, the groom's messenger, who must appear to the named bride and present a symbolic silver rose. The idea for this work was born from the Austrian poet Hofmannsthal, who was fascinated by the idea of ​​stylization of the 18th century. He also interested Strauss in his idea, who, however, did not follow him musically. He did not turn to the music of the 18th century; on the contrary, he filled the opera with music from the late 19th century - namely the waltz.

The opera immediately received great recognition. Telyakovsky wanted to stage it, but did not have time: in 1914, an imperial decree was issued banning all works by German authors on the Russian stage. And then this aesthetic story, of course, was not at all suitable for the Soviet audience. Although no one has ever denied that the music is lovely.

It must be said that, despite the fact that Richard Strauss was far from social and political life, in the late 30s he became something of a minister of culture in Hitler’s government. Which greatly influenced the performance of his music in subsequent years. In particular, in the USSR and Israel.

True, there is an opinion that Strauss used his post to help Jewish musicians. He had a clash with the Nazi ideological apparatus regarding his comrade-in-arms, writer Stefan Zweig. And some of his works, written already in the 30s, did not have a very happy life. So the figure is ambiguous.

There is an interesting sketch by an American musicologist who entered Germany along with units of the American army. Coincidentally, its part was part of the town where, as it was known, the elderly Richard Strauss lived with his family. The American musicologist contrived, met with the composer and tried to interview him - precisely with the aim of confirming Strauss's apoliticality. Or even see anti-Nazi sentiments in him. In particular, he asked the question whether the idea of ​​emigrating from Nazi Germany had ever occurred to the composer. The answer was: “Yes, you know, lately we have begun to think about it. The food supply has become rather bad.”

If we talk about music, Richard Strauss was one of those people who are engaged in what is called pure art. As it was written in Soviet textbooks, he was far from the people, but created for the layer of wealthy people that existed then and still exists in Europe, whose wealth and lifestyle allow them to enjoy art and be away from pressing problems.

In our country, Der Rosenkavalier was completely unknown until the Vienna State Opera came to Moscow in 1971 and presented its outstanding performance three times. Oddly enough, he is still performing on her stage. There was a wonderful cast, great artists, Leonia Rizanek as Marshal, Christa Ludwig as Octavian! The first discovery occurred. Then people started traveling and listening to CDs. And now a certain number, of course, know about the existence of this opera.

In a sense, “Der Rosenkavalier” appeals to Mozart’s “The Marriage of Figaro,” also a landmark work for Viennese and world culture. In some characters you can recognize Mozart's predecessors. In Marshalls - Countess. And even more so in Octavian - Cherubino. But if Cherubino is a boy tormented by a common love for all women, then Octavian, who is almost the same age, is already a young man who has tasted the delights of love. And here is another, more sensual shade.

Although domestic directors did not stage this opera, they thought and discussed it. And many were very put off by the first scene, in which two women are in bed. One of them is a travesty in the role of a young man. And 30 years ago, especially 40 years ago, very often these characters were played by fairly large prima donnas. And indeed, for a person who is not part of this aesthetic world, watching two middle-aged, large women performing a love duet on a wide bed did not make the best impression.

Although in fact the Marshall is about 35 years old, Octavian is 16-17. And now these roles are played, of course, by artists more suitable in age and physical characteristics. And in life we ​​now encounter much more dramatic age differences.

Unlike Russia, in the world “Der Rosenkavalier” is one of the most popular operas; in the work of Richard Strauss it is, of course, the most popular and the most Viennese. For the Viennese public, not only this opera, but also this performance is a cult thing. This production is also running in Vienna this season, with Elina Garanča performing in the role of Octavian.

The opera is permeated with lyricism and humor. Despite the fact that this is a large work, it is very easy - for those whose native language is German. I know Russian listeners who experience approximately the same thing when they listen to Rimsky-Korsakov’s operas. But they hardly come now. And there are very few such people. And there are many of them in Vienna.

Firstly, this is a very cultured audience; it is impossible to imagine that telephones would be turned on in the hall - not only that calls are impossible, but also the light from the telephones. People understand that it also interferes with perception. And if some tourists from eastern countries try to do this, then the attendant immediately appears and unobtrusively explains that this is not necessary.

Secondly, this is an audience that already knows the work and goes specifically to see it, maybe even to see exactly this production and exactly these singers. And they do not discover this opera for themselves, but come to get more or less pleasure from it, which is well known to them.

The basis of this audience is made up of moderately wealthy, middle-aged people who can afford a ticket for 60-70 euros. Although Vienna also has a large number of standing places. There are not so wealthy opera fans, young people and student tourists. There are performances with the participation of certain soloists, when these standing places are not crowded.

My personal opinion is that there is currently no audience for this work in our country. Because we don’t have a middle class and in general there is a serious problem with opera audiences - especially at the Bolshoi Theater. Maybe this opera should have been staged here a little earlier or a little later.

Bedroom of the wife of Marshal Werdenberg. Count Octavian (a seventeen-year-old youth) kneels before the marshal, passionately declaring his love to her. Suddenly there is a noise outside. This is the marshal's cousin, Baron Ochs auf Lerchenau. She begs the Count to escape. Octavian barely has time to change into a maid's dress before the door swings open. Baron Ochs asks the princess to recommend him a young aristocrat, who, according to custom, should take a silver rose to Ochs's bride Sophie, the daughter of the rich man Faninal, who recently became a nobleman. In the meantime, the Baron pays attention to a maid, as it turns out, named Mariandl, who did not have time to hide, and whom he really likes. The princess recommends Octavian as a matchmaker. It's time to receive morning visitors. Among them are the adventurers Valzacchi and Annina. A noble widow and her three sons ask for help. While the flutist plays and the singer sings, the hairdresser combs the marshal's hair.
Left alone, the mistress of the house sadly looks at herself in the mirror, remembering her youth. Octavian returns. He wants to console his sad beloved, but she avoids his embrace: time flies, and she knows that Octavian will soon leave her. The young man does not want to hear about it. But the princess asks him to leave. Remembering that she did not fulfill Ox’s instructions, she gives a silver rose to Octavian with the black child.

Act II

The living room in the Faninal house, where excitement reigns: they are waiting for the gentleman of the rose, and then the groom. Octavian enters, dressed in a white and silver suit. He has a silver rose in his hand. Sophie is excited. Looking at the girl, the young count asks himself how he could live without her before. Young people talking tenderly. But here comes the groom, Baron Ochs. He lavishes vulgar compliments on Sophie, sings an obscene song and completely disgusts the bride. Octavian and Sophie are left alone, the girl asks to help her: she does not want to marry the stupid baron. Young people hug in a fit of love. Valzacchi and Annina, who entered the service of Oxus, spy on them and call the master. The Baron pretends not to attach importance to what happened and asks Sophie to sign the marriage contract. Octavian throws insults at him, draws his sword and slightly wounds him in the arm. The Baron considers the wound fatal. Everyone is alarmed, Faninal drives away the gentleman of the rose and threatens to imprison Sophie in a monastery. The Baron is put to bed. Wine gives him strength, and even more - a note from Marshal Mariandl’s chambermaid: she makes an appointment with him.

Act III

Outskirts of Vienna. The baron's draw is being prepared. Valzacchi and Annina went into Octavian's service. He himself dressed in a woman’s dress and pretends to be Mariandl, with five other suspicious characters with him. The Baron enters with his arm in a sling. He is in a hurry to be alone with the imaginary chambermaid. Octavian, in disguise, feigns excitement and shyness. His companions, hidden in the room, periodically appear in dark corners, frightening the baron. Suddenly a lady in mourning (Annina) enters with four children who rush to him shouting “daddy, daddy”, the lady calls him her husband. The Baron calls the police, but suddenly finds himself in the role of being interrogated.
At this moment, Faninal and Sophie appear, summoned by Octavian. The room fills with hotel staff, musicians and various rabble. Octavian discreetly changes into men's clothing. Everything is becoming clearer. But then a new circumstance arises: the marshal’s wife arrives. The Baron, pursued by money-hungry servants, leaves, followed by the others. The Marshal, Octavian and Sophie are left alone. The princess advises Octavian to follow the dictates of his heart. All three are excited, Octavian and Sophie again swear eternal love.

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