Ying Fang , Paula Murrihy and Rachel Willis-Sørensen in 2024 Santa Fe Opera production of Richard Strauss' 'Der Rosenkavalier,' at the Crosby Theatre in Santa Fe, N.M.SANTA FE, N.M. — “In God’s name,” the Marschallin sings, after some of the most glorious — and emotionally charged — moments in Western music. One imagines her taking a deep breath, looking away and trying to maintain some composure., presented this summer by Santa Fe Opera.
Hugo von Hofmannsthal’s libretto sets the opera in the 18th century, but it needn’t be stuck there. Here, designer Gary McCann blurs the timeframe a bit. Various permutations of a receding box, framed in light, are decorated with swirls that might be rococo or art nouveau. Costumes are more or less 1950s. Well, why not? Stage director Bruno Ravella wittily realizes the farcical business in the second and third acts, but he also vivifies the serious characters and their interactions.
Sophie, fresh out of a convent, must arrive as an idealistic innocent, but soon fall deeply in love while fiercely resisting the marriage that’s been arranged to the boorish Baron Ochs. Ying Fang has the bright, pliant soprano for the role, and she acquires requisite feistiness. But was I alone in wanting a bit more youthful naivety early on, and vocal lines that flowed more and bulged less?
Gerhard Siegel , Matthew Rose and Megan Marino in 2024 Santa Fe Opera production of Richard Strauss' 'Der Rosenkavalier' at the Crosby Theatre in Santa Fe, N.M.With hennaed wig and beard, and some garish costumes, bass Matthew Rose blusters away as the aptly coarse Ochs. Secondary roles are admirably filled by Zachary Nelson , David Portillo , Gerhard Siegel , Megan Marino and Kathryn Henry .
The voiceless character identified in the libretto as “the little Black Boy,” sometimes named Mohammed, is finessed by turning him into a ginger-curled young Cupid in 18th-century attire. Portrayed by Maximilian Moore, he makes a couple of appearances well before his final pop-up to fetch Sophie’s dropped handkerchief., Special Contributor. Former staff classical music critic Scott Cantrell continues contributing as a freelance writer on classical music and art.
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