Cher Public

The subject was Rosenkavalier

La Cieca looks forward to seeing (in the virtual sense) all her cher public bright and early tomorrow morning for the webcast of the controversial production of Der Rosenkavalier from Glyndebourne. It starts at 11:30 AM EDT and naturally La Casa della Cieca will be open for brunch and chat.

More Strauss-related news follows the jump.

Our old, old, old friends at Opera Depot are celebrating the 150th birthday of dear Richard Strauss with special promotion offering 50% off on all titles by the composer, including six new releases. Offered as a freebie is a download of nine fabulous divas performing the final scene from Salome!

  • armerjacquino

    Well, 8 fabulous divas and Josephine Barstow…

    Will the ROSENKAV be around for long? Have a show tomorrow so will miss the webcast.

    • messa di voce


      There are very few voices that I consider inherently ugly, but hers was one.

      • Krunoslav

        Yet it more than one ‘lustrous’ from, um, certain quarters..

    • mountmccabe

      The Glyndebourne Rosenkavalier is supposed to be available to stream on demand through June 15.

      • armerjacquino

        Brilliant! Thank you.

    • operacat

      I also notice that ROSENKAVALIER will be on and those usually stick around for several weeks.

  • La Valkyrietta

    I might watch this shabby little costume shocker.

    “Sophie, O Sophie, nel tuo cor s’anida Octavian! Sophie! Mi fai dimenticar Marie Thérèse!”.

  • Salome Where She Danced

    As I type, I am playing the Opera Depot-supplied 1977 Rosenkavalier (Kleiber, Munich). Dernesch, Popp, Fassbender, Moll. All this Glory for the cost of a movie ticket ($10.98).

  • Tory Adore

    Not at all as horrific as the critics made it out to be- maybe they confused an ugly mis-thought production with its unfortunate players.

    • mountmccabe

      Singling out how Tara Erraught’s Octavian looked is quite ridiculous. The entire opera was “costume disaster” after “costume disaster” after garish wallpaper after mismatched carpeting and full of goofy physical actions. I found it all quite wonderful and fitting for Rosenkavalier. This opera SHOULD look ridiculous.

      Overall I thought Octavian looked the impetuous, inexperienced youth he acts like.

      • Clita del Toro

        I loved the wallpaper in Act I. I was disappointed in the Marschallin’s dress in Act III.
        She should have come out in a fabulous, Balenciaga inspired dress, not that shitty pannier thing. I assume the last act takes place in mid- century.

      • DellaCasaFan

        Oh, I didn’t see your post before sending mine. Absolutely agree with you.

      • DellaCasaFan

        … agreed with you, until I saw the last two sentences in your post. :-)

        “I found it all quite wonderful and fitting for Rosenkavalier. This opera SHOULD look ridiculous.”

        But this production didn’t have any Viennese charm and there was no excuse for the ill-fitting costumes. I also found many elements in poor taste which I don’t think would be entirely fitting for Rosenkavalier. Hope it’s fine to have different opinions. :-)

        • mountmccabe

          Certainly! :)

  • Update on Tara Erraught: judging by the streamed video from Glyndebourne, there is plenty of blame to go around. She is a very good singer who maybe needs some time to grow into the challenging role of Octavian. Until she can bring more specificity to the text and to her musical phrasing, though, people are going to notice that she has a difficult figure to dress as a young man.

    Compounding this problem was the costuming, which managed to highlight every “flaw” — flimsy fabics, badly cut, hideously fitted. Every single jacket was so tight across the bust it caused “fat rolls” to be visible on the singer’s sides and back. She also simply does not have the legs to be put in white leggings. Furthermore she was styled hideously, with bushy eyebrows and a thick kinky wig with a side part. She looked like she was doing Agnes Gooch, or, as one of the commenters on parterre put it, “Mrs. Tiggly Winkle in a pantomime.”

    (The wig has definitely been redressed sing the press photos were taken, pulled back into a pony tail. I am told as well that there was a new costume built for Octavian’s second entrance in Act 1, in a sort of dark rust color, which was the only borderline flattering outfit Erraught wore all night. It had nothing to do with the rest of the production, but at least it fit correctly.)

    The other singers didn’t fare much better: the Marschallin was better off nude than in her garish 1950s cocktail dresses, and Sophie was wearing what looked like a decayed ballet costume. The character singers seemed generally more concerned with seeing the conductor’s beat than actually acting.

    The production ends with Mahomet (a teenager) sniffing the Marschallin’s fur stole and then running out by the wrong door….

    • DellaCasaFan

      Spot on! It seems that the idea behind the scenery and costumes was to highlight the farcical side of the opera, but I think it all turned into a kitschy display and without much wit and charm. The costumes were also ill-fitting and unflattering. Who would look good in that dress/skirt for Mariendal? I am surprised because the bios show that the set and costume designers are quite experienced in opera. I also thought that Tara Erraught was the strongest vocally among the female voices.

    • Rowna

      We are almost identical in our views. Of course you say it much better than I do but I have a better background designer :)

  • turings

    Anne Midgette just tweeted:

    “Having seen at least part of the Rosenkavalier broadcast, I am even more incensed at criticisms of Tara Erraught …”

    And Deborah Voigt replied “me too”.

    It’s a good article.

  • manou
  • PushedUpMezzo

    Well the Great British Public rushed to the cinemas to see it, grossing a very respectable £75000. It also beat Grace of Monaco if you consider that it was only showing once at 59 cinemas and poor old Grace was on all week at 332.


    Unless you count Grace of Monaco, there are no films for arthouse audiences in the top 10. Ken Loach’s Jimmy’s Hall, falling 38% from its opening, is at number 13, and has cumed £335,000 to date. Thanks to a live satellite link-up with the band in attendance at the Sheffield Doc/Fest, Pulp: A Film About Life, Death and Supermarkets achieved £70,417 from 120 sites. The next afternoon, Strauss’s Der Rosenkavalier streamed live into cinemas from Glyndebourne, grossing £75,000 from 59 venues. Evidently, there have been significant variations, since the owner of one independent cinema (in Uckfield, Sussex) posted on social media that the Glyndebourne event had outgrossed all the performances of all the films all weekend in his site, added together.

    On Friday, D-Day 70 Years On was beamed into cinemas from London’s Royal Albert Hall, delivering a handy £288,000 from 179 venues.

  • zinka

    and WHAT ABOUT the greatest Octavian..born also Jun 11…………..