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L Y R I C O P E R A O F C H I C A G O
February 8 - March 13, 2016
|
19
DER ROSENKAVALIER
Synopsis
TIME
: 1740s
PLACE
: Vienna
ACT ONE
The Marschallin’s boudoir
Intermission
ACT TWO
The reception hall of Faninal’s town house
Intermission
ACT THREE
An inn
ACT ONE
Unwelcome sunlight streams into the
Marschallin’s bedroom, where she has just
spent the night with the young Count
Octavian Rofrano, during the absence of her
own husband, the Field Marshal. Octavian’s
ardor spills into praises of his “Bichette,”
who delights in the extravagances of her
“Quinquin.” When Mohammed, her page,
brings breakfast, Octavian scurries into hiding.
Once they are alone again, the
Marschallin distresses Octavian by confessing
that the night before she dreamed of her
husband. Suddenly voices are heard in the
anteroom, and she fears that the Field Marshal
himself has unexpectedly returned. To avoid
being discovered, Octavian disguises himself
as a housemaid. The Marschallin discerns
with relief that it is actually her cousin, Baron
Ochs of Lerchenau, who is causing the uproar
outside her door. The baron forces his way past
the servants and takes immediate notice of the
pretty “maid.”
Ochs is visiting specifically to remind
the Marschallin of his engagement to Sophie
von Faninal, the daughter of a wealthy,
newly-ennobled merchant whose health is
conveniently not the best. As it is customary
to have a silver rose presented to one’s fiancée,
Ochs asks the Marschallin to recommend a
young nobleman to be his rose cavalier. The
Marschallin suggests her cousin Octavian,
showing the baron the young man’s portrait.
Ochs notices a striking resemblance to the
maid, “Mariandel,” which the Marschallin
attempts to ignore. Once the doors open to
admit the crowd assembled for the morning
levée, “Mariandel” finally escapes.
While having her hair dressed, the
Marschallin listens to pleas for alms from
three noble orphans, as well as presentations
from a milliner, an animal-vendor, and two
Italian “intriguers,” Valzacchi and Annina.
A tenor sings for her (Aria:
Di rigori armato
)
while Ochs browbeats the Marschallin’s
notary, whose services he usurps to draw
up an unconventional marriage contract. He
then engages the Italians to help him arrange
a rendezvous with “Mariandel.” Suddenly
distressed, the Marschallin sends everyone
away, but Ochs departs only after leaving her
with the silver rose. Once alone, she reflects
on the passage of time (Monologue:
Da geht er
hin
).
Now dressed as himself, Octavian returns
to continue the interrupted tête-à-tête, but the
Marschallin is preoccupied and finally asks
him to leave. He goes abruptly and without
a farewell kiss. The Marschallin sends her
footmen after him, but he has ridden away.
Summoning Mohammed, the Marschallin
gives him the rose to deliver to Octavian.
ACT TWO
With her father and Marianne, her duenna,
Sophie awaits the cavalier whose appearance
will precede her first meeting with her fiancé.
When Octavian presents the silver rose, he and
Sophie feel strongly attracted to each other
(Duet:
Mir ist die Ehre
). The two make polite
conversation, interrupted by the arrival of
Ochs. His manner repulses Sophie, although
her oblivious father presses onward with the
wedding arrangements.
Drunk on Faninal’s wine, Ochs’s servants
chase their host’s serving maids through the
house as chaos ensues. When alone at last with
Sophie, Octavian swears to protect her (Duet:
Mit Ihren Augen voll Tränen
). They two are
embracing when they are suddenly pulled
apart by Valzacchi and Annina, who have been
eavesdropping. They call for the baron, who
condescends to Octavian when the young man
informs him that Sophie will not marry him.
Octavian finally draws his sword and slightly
wounds Ochs, who responds with exaggerated
outcries. He is bandaged and then left to rest
(Monologue:
Da lieg’ ich
). Annina returns with
a note that Octavian has paid her to deliver: an
invitation from “Mariandel” to a rendezvous
the following night. His mood now completely
altered, Ochs waltzes in delighted anticipation.
ACT THREE
Valzacchi and Annina have joined Octavian
in a plot to discredit Ochs and rid Sophie of
him permanently. They are using the private
room of an inn as a scene for an assignation.
They conceal their cohorts strategically around
the room and, with his henchmen, Valzacchi
then rehearses everyone for the upcoming
shenanigans.
Ochs enters escorting “Mariandel” and
dismisses the inn’s fawning staff. He attempts
to ply his companion with wine, which she
coyly refuses. As he tries to kiss her, he
is startled by her resemblance to Octavian
and by the abrupt appearance of one of
the henchmen’s heads, which “Mariandel”
ignores. More wine and more apparitions
succeed in confusing and frightening Ochs.
Annina rushes in claiming to be his deserted
wife, followed by numerous children claiming
that Ochs is their “papa.” A bona fide police
commissioner arrives, intent on investigating
the disturbance. He is followed by Sophie and
her father, who have arrived on schedule to
witness the baron’s misbehavior.
At the height of the tumult, the
Marschallin appears. Unimpressed by Ochs’s
attempts to extricate himself from the situation,
she suggests he leave immediately. He does
so, followed by his “wife and children,” a
throng of annoyed waiters, and Valzacchi’s
accomplices.
Alone with Octavian and Sophie, the
Marschallin graciously offers to take Faninal
home in her carriage. Sophie is embarrassed
at the ridiculous situation her father’s social
aspirations have created, while the Marschallin
is saddened by the realization that losing her
lover is a presage of approaching age. Octavian
is torn between his new love for Sophie and
the complex mixture of love, gratitude, and
loyalty he still feels for the Marschallin (Trio:
Hab mir’s gelobt
). Left to escort Sophie home
himself, Octavian lingers with her to savor the
moment (Duet:
Ist ein Traum/Spür nur dich
).
The room is empty until Mohammed runs in,
catches sight of the handkerchief Sophie has
left behind, and rushes out with it.