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This masterwork of Strauss's and von Hofmannsthal's shares with Wagner's "Die Meistersinger" the distinction of bringing upon the stage creations of flesh and blood with whom the listener shares the emotions and thoughts with which composer and librettist have endowed them. The characters therein are no operatic puppets who merely serve as mouthpieces for recitative and arias, but human beings whom one might easily find among one's friends and acquaintances.

It matters little that the Vienna of Maria Theresa is the milieu of "Rosenkavalier." The period costumes do not, as in so many operatic and dramatic products, hinder us from finding the Marschallin's tragedy, the tragedy of passing youth and the ineluctable adieu to love which accompanies it, deeply affecting. How truly realized is the callow Octavian, who, as soon as chance throws a young, pretty girl in his path, speedily forgets his vows of eternal faithfulness!

Mme. Lehmann's Marschallin was, as it has been in the past, a masterly one, replete with tenderness, profoundly touching in its suggestion of the pathos of final resignation, and imbued with true nobility. The soprano was in admirable voice and invested her delineation with a wealth of subtle nuance and tonal color, which served to heighten its artistry.

Others Good in Roles

As Octavian, Miss Stevens again disclosed her extraordinary flair for the theater. Whether enacting the impassioned boy, Octavian, or masquerading as the maid, Mariandel, her portrayal was consistently telling, and much of the dramatic detail of the part has grown in cogency and finish. Vocally better disposed than on the occasion of her debut in this role last season, the contralto delivered much of her music with richly vibrant tones and true intensity.

As the lecherous boor, Ochs auf Lerchenau, Mr. List did some effective work, although it would add to the saliency of his conception if he could be persuaded not to play the clown so unabatingly. Miss Farell's Sophie is persuasively comely and there were times, especially in the last act, when her singing had the tonal transparency and warmth demanded. But in the second act in the "Presentation of the Rose" duet and in the subsequent scenes, her spread manner of projecting her tones was productive of unfelicitous results.

Mr. Huehn has the wide range essential to an easy conquest of Faninal's music, but his acting, because of its inherent youthfulness, does not convey the paternal, choleric aspect of the character. A word of commendation must be added for the well sung, amusingly delineated intrigante, Annina, by Miss Doe.

Audience Shows Approval

John Carter, who made his first appearance in a regular performance as the Italian tenor, at the Princess Werdenberg's levee, proved conclusively that microphone technique is unsuited to the operatic stage. His voice, which is of agreeable texture, could scarcely be heard in the sixth row of the auditorium. The remaining less weighty parts were in capable hands.

Mr. Leinsdorf, who had not previously conducted "Rosenkavalier" here, revealed remarkable understanding of Strauss's complex score, keeping a firm hand over the orchestra and stage procedure and setting forth the music's many facets with unerring comprehension - enlivening the episodes of pure comedy and farce and lending to the lyric and poetic moments pulsating warmth.

The orchestra, barring the seemingly inevitable distortion of the difficult [at the start] horn theme, played in highly satisfying fashion. The audience was large and obviously pleased by what it heard.

Search by season: 1939-40

Search by title: Der Rosenkavalier,

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