SEATTLE – For opera fans, the sweet sounds of summer are coming from McCaw Hall this month with Seattle Opera’s production of “Der Rosenkavalier,” the Richard Strauss melodious masterpiece that opened Saturday night.
The production, last seen here nine years ago, is a visual feast thanks to Bruno Schwengl’s opulent sets and costumes that capture the elegance of Viennese high society where Strauss set his romantic comedy. But it would all just be pretty packaging without first-rate music and acting, and in that respect this “Rosenkavalier” is a beauty.
The cast is uniformly strong, delivering an evening of beautiful singing and affecting drama. The ensemble singing is breathtaking, the story of love lost and the passage of time poignant and heartfelt, and the comic moments funny and welcome.
Sharing in this opera’s success is Dieter Kaegi, whose meticulous stage direction delivers a coherent and fully developed production. “Rosenkavalier” is long, but in Kaegi’s hands it rarely drags.
Kudos also to Asher Fisch. The Israeli conductor scores another musical triumph at Seattle Opera; the waltzy score by Strauss is showcased in all its rich complexity and ornamentation.
Carol Vaness, a regular with the company for two decades, sings her first Marschallin, the middle-aged noblewoman who renounces her love for a young man (Octavian). Vaness gives a convincing portrait of this regal woman who mourns the passage of time, and her youth, even as she gracefully steps aside so that Octavian can be with someone his age. Her dark-hued soprano voice is beautifully suited to the role; her singing had depth and emotion.
English mezzo-soprano Alice Coote was a sensation in the role of Octavian. She has a voice than can knock your socks off, and with plenty of acting chops to boot. Octavian is a “trouser role,” a woman playing a man. Coote is convincing as the young male lover, even when as a plot device Octavian has to pretend to be a maid. A woman, playing a man, playing a woman. That’s opera.
Soprano Julianne Gearhart made a charming Sophie, the young girl who will eventually win Octavian’s love. Gearhart, who stepped into the role when the principal singer withdrew, is a wonderful singer with plenty of top notes.
On the other end of the scale is bass Peter Rose, who sings the pivotal role of Baron Ochs. Ochs is a cad and an oaf, but he’s not without his charms. Rose has sung this role many times, and he nails the part with a pitch-perfect performance and a glorious voice.
The musical treasures continue with the Austrian baritone Wolfgang Hilmar as Herr von Finial, Sophie’s father, and the veteran Seattle Opera tenor Vinson Cole, who has provided Seattle Opera fans with memorable moments.
“Der Rosenkavalier” continues through Aug. 26 at McCaw Hall, with a matinee performance on Sunday.
Wah Lui photo
Julianne Gearhart (left) and Alice Coote in Seattle Opera’s “Der Rosenkavalier.”
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