Strauss: Rosenkavalier-Suite ∙ hr-Sinfonieorchester ∙ Tarmo Peltokoski

Richard Strauss:
Rosenkavalier-Suite ∙
hr-Sinfonieorchester - Frankfurt Radio Symphony ∙
Tarmo Peltokoski, Dirigent ∙
hr-Sinfoniekonzert ∙
Alte Oper Frankfurt, 28. April 2023 ∙
Website: www.hr-sinfonieorchester.de ∙
Facebook: / hrsinfonieorchester ∙
ARD-Mediathek: www.ardmediathek.de/hr/sendun... ∙
#4K
© 2023
Hessischer Rundfunk (hr)

[@josuerestrepo1476]

19:34 That trumpet it's insane!!

[@LucienMarine]

Initially, Der Rosenkavalier (The Knight of the Rose), Op. 59, is a comic opera in three acts by Richard Strauss. It is the composer's fifth opera and the best known. It was difficult for modern operas to qualify at that time. However, Der Rosenkavalier was not just a success, but a triumph. In barely two months, opera has gone global. Der Rosenkavalier is notable for showcasing the female voice, as its protagonists are written to be performed by women, who share several duets as well as a trio at the emotional climax of the opera. After World War II, Strauss allowed a sequel to be made from the music. Artur Rodziński is probably the inspiration. And it is he who will be at the origin of the arrangement because he conducted the first performance of the « Suite » by the New York Philharmonic Orchestra. The work debuted at the opening concert of the 1944-45 season. New York Times critic Olin Downes called the music « lively, sensuous, and properly theatrical ». Downes’ comments lay out exactly why this work appeals, it takes the best of the best, starting with the Marschallin’s opening scene with her young lover, Octavian. The night of passion changes to a tender melody as Octavian reappears as the Rosenkavalier, the Knight of the Rose. As the Rosenkavalier, Octavian is to deliver oafish Baron Och’s engagement rose to the ingenue, Sophie. Octavian falls in love with Sophie and they conspire to rid her of the Baron’s attentions. The most touching scene of the opera closes it: the Marschallin enters and relinquishes Octavian to Sophie. Young love wins. The « Suite » closes with the well-known Rosenkavalier Waltz symbolic not only of the love of Octavian and Sophie but also of the twilight of the Marschallin’s love. Music is a universal language that everyone appropriates by matching it to the colors of their soul, without distorting its beauty. *Lucien*

[@jchristophem4406]

Wonderful solo trumpet in Der Rosenkavalier. 🌹

[@stevenwilgus5422]

Ich liebe dieses Orchester! 💕

[@notaire2]

Jugendliche und wunderschöne Aufführung dieser spätromantischen und perfekt komponierten Suite mit seidigen Tönen aller Streicher, milden Tönen aller Holzbläser und brillanten Tönen aller Blechbläser. Der intelligente und geniale Dirigent leitet das hoch funktionelle Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Einfach wundervoll!

[@timbredan3476]

bravo!!!!!!!

[@Artariastein]

Das ist stark! 😊👍

[@marcotoscani4460]

Bravissimi tutti. Bella musica e suonata benissimo. Bravi

[@paulpizzo9255]

every note, every measure has Strauss written all over it

[@ernestrobles1510]

Reminds me of Salonen when he was the boy conductor.

[@constantquestioning4010]

Perhaps a more wildly swashbuckling sense of abandon required? In RS’ nostalgic imagination, his horn player father would have experienced rapturous pleasure in producing alongside his fellow horn players explosive fanfare-like preliminary outbursts of exultant rapture. (Shades of early Don Juan’s opening.) Somehow, the technical prerequisite of strict orchestral discipline needs to be combined with a naturally spontaneous almost improvised quality … conjuring up an ever fleeting illusion; singing with passion, waltzing with abandon, both urgent and lingeringly nostalgic, portraying the constant paradox of renewal and extinction; where love plays a mystifying central rôle. However, the heavy weight of historic reverence for a legendary masterpiece such as Der Rosenkavalier can and should at times surely transgress this necessary rule of orderly respect of structure so as to succumb on occasion more riskily to an ultimate longing for a touch of fever pitch folly … that inimitable hallmark of Straussian exuberance! On balance, such gently veiled criticism could be deemed unwarranted. Indeed, a short film archive of RS conducting reveals, surprisingly, a short, placidly uncharismatic, sober figure, contented with merely respecting the score as written, and doing so with somewhat passionless mechanical metronomic regularity. Thus, merely marking bars and pointing up entries technically, in a manner free of pretentious personal interference (otherwise known as ego) or unsightly demonstrations of feeling (so fashionable in today’s postwar world), the black and white footage reveals a full spectrum of unsuspected colours. It is as if the composer turned conductor (or conduit) were humbly delegating the role of feeling, interpretation and the breathing of life into a score to the individual personalities that compose an orchestra, the devoted musicians themselves. By respecting technically a great score’s notes and indications as written, a work can be trusted to act upon a given audience’s collective individual imagination during a « live » concert, releasing within one ineffably raptures of spontaneous feeling and emotion. Despite such gentle possible caveats, a wonderful « climactic » passage of this recording by the Frankfurt Radio Symphony demonstrates the profound effectiveness of the technical approach to such scores, since it is charged with extraordinary depth of collective instrumental freedom and mastered feeling : 15:48 to 19:39 As a sampler for an operatic masterpiece, this Suite is mouthwateringly devotedly sweet. En tout état de cause, merci infiniment & humbles hommages de Paris ! 🙏🏼🕯🕯🙏🏼

[@celloguy]

Agreed, this is a not very well conducted, but often beautifully played version of the sweet, itself a beautiful bastard offspring of the full opera. Strauss just threw it together, and it shows painfully - some of the transitions are… well non existent. But still enjoyable to listen to bleeding chunks!

[@ilinasingh3840]

Bravo whoo

[@ddd20120127]

😊😊😊😊😊

[@federicooliveri8879]

The best rendition of this masterpiece I found so far on YouT. A great sound, a perfect tempo, a sensible and clever interpretation.

[@Dylonely42]

2:40

[@franciscopolatscheck8837]

Wunderschöne ! Der Dirigent ist wie ein Tänzer !

[@Dylonely42]

8:14

[@user-bt5ht1pg2z]

17:27

[@ilinasingh3840]

25:00👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏

[@lessismore4470]

The child-conductor? For me, these have been the most wonderful 25 minutes in recent days.

[@gottfriedwilhelmvonleibniz9033]

He's actually 22 ahah I've seen him live perform Ravel's piano concertos with Yuja Wang followed by Mussorgsky Pictures at an Exhibition and it was truly amazing, best rendition of the piece I've ever heard... And I didn't even like it that much before

[@janklaas6885]

📍15:03

[@constantquestioning4010]

👌 👍

[@janklaas6885]

​@@constantquestioning4010😁

[@metamong_23]

21:00 Timpani

[@Dylonely42]

18:09 Eargasm

[@zachbickell]

might be Strauss' most perfectly orchestrated love theme climax ever written. I'm *personally* not a fan of the fast tempo in this version but it is absolutely disarming how beautiful it is

[@user-ub4xb2eg7t]

能和如此才华出众的指挥合作😂😅😊

[@Dylonely42]

15:57

[@Dylonely42]

Trio

[@IwanOchs5]

Besonders die Walzer sind hörenswert.

[@waldemarwitt764]

Dieses Orchester wirkt Wunder! Keine Ähnlichkeit!

[@riolay8311]

13:30 What happening ?

[@michalis6]

Toy conductor

[@markokassenaar4387]

Too slow. Boring.