Richard Strauss was (and in musical circles still is) known alternately as the "other Strauss" (he was no relation to Josef or Johann) and the third Richard (the first being Wagner, after whom there could be no second!). Der Rosenkavalier was Strauss's fifth opera, and its subject matter was hotly debated by Strauss and his librettist Hofmannsthal before composition. Originally Strauss intended to write a third in his series of tragic operas, coming of the heels of Salome and Elektra. The two settled, however, on a romantic comedy, a work he described "more in the style of Figaro."

From 17th- and 18th-century playwrights (and from the diary of a certain Empress Maria Theresa), Hoffmansthall collected characters and scenarios with which to construct the libretto for Der Rosenkavalier. He lifted material from several Moliere plays: those familier with such works as Moliere will find parallels in the domestic social farces and class struggles in the story. For this somewhat "light" fare, however, Strauss composed some of his most luxuriant music, filled with colorful waltzes and some lovely ensemble pieces. For details on the story, read Der Rosenkavalier's plot synopsis.

MPR and the Minnesota Opera present Der Rosenkavalier
hosted by Brandi Parisi

Walk through this scene-by-scene slide show of photographs and text from the Minnesota Opera's production.

MPR's Brandi Parisi interviews the opera's participants. (RealAudio 3.0)
•  Yvonne Kenny, who plays the Marschallin, discusses her character, how she fits into the role, Listen Listen Listen Listen and the difficulty of the part.
•  Peter Rose knows that his character, Baron Ochs, is a cad, but playing the part can be quite Listen Listen fun. Listen.
•  Baron Ochs is a plum role, but the opera's length can be daunting, says  Peter Rose. Listen
•  Minnesota Opera Artistic Director talks about the challenges and rewards of staging Der Rosenkavalier. Listen

The players, crew, and credits.