Review Roundup: Rosenkavalier at Carnegie Hall

Richard Strauss's Der Rosenkavalier, set during the reign of the Austrian Empress Maria Theresa, is a bittersweet tale of love lost and found. Sweeping waltzes, unsurpassed ensembles-especially the gorgeous final trio-and stunning orchestration bring Hugo von Hofmannsthal's witty libretto to life. Rhapsodic, comic, and deeply moving, Der Rosenkavalier is Strauss's crowning operatic achievement.

With his series of graphic tone poems and his shocking first two operatic successes Salome and Elektra, Richard Strauss seemed firmly established as Europe's most radical composer by the age of 46. But with his waltz-filled Der Rosenkavalier-which premiered in Dresden on January 26, 1911-he took a sudden swerve in a more conservative direction, a swerve that would predict the remainder of his long career. Today, Der Rosenkavalier is considered his greatest opera, and it is without question his most popular-a glorious amalgamation of high comedy, heartache, and unforgettable melodies.

Let's see what the critics have to say!

Anthony Tommasini, The NY Times: The triumph of this performance was that Mr. Petrenko shaped the beautiful passages with tenderness and slightly cool restraint, while also drawing out the complexities of the comedic episodes. Hearing an orchestra as excellent as this one play the music on Carnegie's stage, instead of from a pit, certainly enhanced the clarity. But the mix of lucidity and nuance, of natural flow and urgency, surely came from complete trust between conductor and players.

David Devau, Classical Scene: One could be forgiven for transposing some aspects of the farcical storyline from 18th-century Vienna to the current era of Harvey Weinstein et al, and feeling slightly queasy about certain, ahem, more 'dated' aspects of the plot. But the sublime trio at the opera's conclusion-in which the Marschallin nobly proves her love for Octavian by letting him follow his heart with the much younger Sophie-made everything right with the world, if only for a few fleeting moments. (And that is some of the most melancholy music ever composed in a major key.) The ovation was prolonged and visceral.

David Wright, NY Classical Review: Bass Peter Rose proved a deft comedian but rather one-dimensional as Baron Ochs, conveying little of the character's sleaziness or his sentimental pathos. (When he went from kissing the hand of "Mariandel" to slobbering on her arm, it came off as a gratuitous gross-out rather than comic characterization.) His durable basso was adequate for the role, which wasn't designed for vocal display anyway.

Jennifer Pyron, Opera Wire: Angela Bower and Adrianne Pieczonka set the tone for the evening in their own roles as Octavian and Feldmarschallin. With a passionate and flourishing overture, the two lovers reveled in all their glory and the audience immediately sensed that their chemistry was quite special. One could visually see and feel their fondness for each other, which further enhanced the emotions leading up to Marchallin's main aria in Act one, "Da geht er hin." Pieczonka's warm timbre was an inspiration to the listener, her voice's earthiness and deep connection to text through tone was solid. Sometimes singers in this role fall flat, because they concentrate on weighing their voice down to appear older in order to fit the mold. But, Pieczonka proved her middle voice's precision and showcased her voice's best colors. Pieczonka was enjoyed thoroughly by all listeners and smiles were present when she directed her eyes out into the hall to connect with everyone as she sang.