[Met Performance] CID:302020



Der Rosenkavalier
Metropolitan Opera House, Tue, September 25, 1990

Debut : Felicity Lott, Juliana Gondek, Joel Evans, Deborah Saverance




Der Rosenkavalier (319)
Richard Strauss | Hugo von Hofmannsthal
Octavian
Anne Sofie von Otter

Princess von Werdenberg (Marschallin)
Felicity Lott [Debut]

Baron Ochs
Aage Haugland

Sophie
Barbara Bonney

Faninal
Gottfried Hornik

Annina
Sarah Walker

Valzacchi
Anthony Laciura

Italian Singer
Stanford Olsen

Marianne
Juliana Gondek [Debut]

Mahomet
Joel Evans [Debut]

Princess' Major-domo
Nico Castel

Orphan
Linda Mays

Orphan
Jean Rawn

Orphan
Beverly Withers

Milliner
Deborah Saverance [Debut]

Animal Vendor
John Hanriot

Hairdresser
Sam Cardea

Notary
James Courtney

Leopold
Ross Crolius

Lackey
Arthur Apy

Lackey
John Bills

Lackey
Frank Coffey

Lackey
Donald Peck

Faninal's Major-domo
Michael Best

Innkeeper
Charles Anthony

Police Commissioner
Jeffrey Wells

Widow
Elizabeth Anguish


Conductor
Carlos Kleiber


Production
Nathaniel Merrill

Designer
Robert O'Hearn

Lighting Designer
Gil Wechsler

Stage Director
Bruce Donnell





Der Rosenkavalier received thirteen performances this season.
Elizabeth Anguish appeared in the role of the Widow in the first seven performances of Strauss' opera this season but did not receive billing in the program until October 4, 1990.

Review 1:

Barymore Laurence Scherer in unidentified publication
On the contrary, despite its imperfections, the first Met “Rosenkavalier” was a night one was glad to be alive. With deft touches of phrasing, rubato and string portamento, the mercurial and elusive Carlos Kleiber made an already heavenly work even more so; the famous waltzes flowing like warm oil, the Third Act ensembles almost painfully exquisite, the whole score a gossamer tissue of infinitely varied colour and texture. Although the female trio was flawless as a unit, the sum was greater than its parts: Felicity Lott's Marschallin was rather too bland and ingenuous to convince us dramatically that she was anything more than a fine singer gamely acting a role, while Barbara Bonney displayed a weak extension at the top of her lovely voice. But Anne Sofie von Otter, singing with a marvelous expressiveness, delivered the most naturalistically boyish, adolescent, sexy Octavian in memory. Aage Haugland proved a superbly comic Ochs, and wielded his tight-grained, booming voice with dexterity, displaying at appropriate times a true mezza-voce. As a premium, Luciano Pavarotti appeared as the Italian singer, transforming his cameo into a very funny send-up of a primo tenore's airs and graces. No sooner did he complete his turn than two well-heeled patrons bounded out of their stalls and departed. Real connoisseurs.

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