Der Rosenkavalier

Der Rosenkavalier is an opera of almost Wagnerian proportions. At just over four hours it was a long night, but the music was sublime.

Dominating the action was the towering form of international Australian bass, Daniel Sumegi, as Baron Ochs. A lot younger than one usually finds, he had the looks and the wig to pass for Donald Trump, and channeled the American president in his role. He was loud and crude and a constant delight, at one stage telling his servants to “bugger off”. In the last act male members of the chorus appeared through the side curtains in Trump wigs after Ochs had relinquished his.

Melbourne Opera favourite, Lee Abrahmsen, sang beautifully as the Marschallin. There was a stillness and nobility about her portrayal, and one felt the anguish as she relinquished Octavian to her younger rival.

I have watched Danielle Calder over a number of years, and Octavian was her most accomplished role yet. She managed to play a convincing boy, and her love scenes with the Marschallin and Sophie were utterly believable. Her duets with the young Anna Voshege as Sophie were lovely.

Another standout was Simon Meadows as Sophie’s father, Faninal. Andrea Creighton, John Pickering and Caroline Vercoe also did well. Henry Choo was a suitably pompous Italian tenor.

I was impressed with the direction. I’ve never seen Sophie and Octavian look so awkward when they first meet, so like young people meeting for the first time and feeling an instant attraction. There were long passages of music where no one was singing, but there was always something going on. The opera boxes were used cleverly. At one point the Italian tenor sang from one while Ochs was arguing with his solicitor in the other.

Under the firm hand of Dr David Kram, the orchestra did well and the ensembles were tight.

Another artistic triumph for Melbourne Opera.

Graham Ford

Image: Daniel Sumegi as Baron Ochs for Scottish Opera.