If we bear in mind that the Komische Oper is something like the temple of Regietheater, Andreas Homoki’s 2006 production of Richard Strauss’s Der Rosenkavalier would be something like Otto Schenk’s compared to the other stagings shown in that adventurous opera house. Although the director does interfere with the libretto, I would say that the layman could still follow the plot. As it is, Homoki considers that the story’s main element is the passing of time in the sense of transition of epochs. Thus, both the Feldmarschallin and the Baron Ochs would represent the old generation and its relationship with making way for a new generation represented by Octavian and Sophie – a situation Richard Strauss and Hugo von Hofmannsthal would themselves experience as late Romantics in the eve of a world profoundly transformed by WWI and WWII. In act I, the rococo atmosphere shows the Marschallin in wig, corset, panniers etc, but Octavian’s clothes makes us think rather of the early XXth century, a hint of what is going to happen on act II – Faninal’s house is shown in what seems to be the 30′s. Act III’s Wirthaus is replaced by the upside-down version of act I and act II’s sets and the tricks played on Ochs become air raids. In the meanwhile, the Marschallin and Ochs retain their XVIIIth century-style outfit to the end. Homoki’s ideas are generally sensible and proper to a small stage such as the Komische Oper’s, what makes it more upsetting when silliness creeps in – Sophie strips to her underwear in act II and presents herself at the Wirthaus in act III in her robe-de-chambre. Why?
Although I can remember more flawless Marschallins than Solveig Kringelborn, her performance is still extraordinarily touching. To start with, she has something like the voix-du-rôle. Her lyric soprano is still attractive in its creamy floating mezza voce, but it does no longer sound “young” and, whether it is art or nature I don’t know, but her not entirely ingratiating break into chest voice always go with the situations when the Marschallin should sound less charming. It is also refreshing to hear a singer who has evidently tried not to copy some success formulas and is very much trying to be herself in this role. Her Marie-Thérèse is more “carnal” than most, evidently an experienced woman who has seen it all and her appeal has a touch of lecherousness behind the chic. Brigitte Geller’s Sophie comes close to fulfill all the requirements – her voice is extremely pretty and, as with almost all the great exponents of this role, tends more to the lyric than to the soubrettish. However, there is still something missing – she has been in this production for so long that a great deal of the enthusiasm that lies in the core of what Sophie is about is long gone. Also, her voice is sometimes off focus, too often in the key moments for comfort. That is a problem not shared by Elisabeth Starzinger, whose tightly focused high mezzo is otherwise too light for Octavian. It seems she still has to mature in the role – sometimes I had the impression she was a last-minute replacement. No offense to her personal charm, but she looks convincingly boyish and is a supple, congenial actress. Last but not least, Jens Larsen was a most satisfying Ochs – he has the right voice for the role and is also a naturally funny fellow who does not need to overdo anything in order to extract laughs from the audience.
Although the house orchestra is perfectly acceptable, it is not truly world-class. Nonetheless, Friedemann Layer proved that a gifted conductor proves his talents when he is not conducting the Wiener Philharmoniker. The maestro knows the art of finding the right tempo in which the minimal level of polish is achieved with no sacrifice to forward movement and theatrical expression, took profit of the less than exuberant string section to produce an entirely transparent sound picture in which the complex polyphonic writing could be understood without effort and never let anyone down in key moments. As a matter of fact, his final trio was exquisitely built, with fine contributions from every singer.