Der rosenkavalier for brass quintet sheet music

Der rosenkavalier for brass quintet sheet music full#

StraussвЂ™ score whips up the traditional Viennese sensibility into a swirling ironic waltz of comedic frenzy and parades a host of glittering orchestral textures throughout the opera that the CBSO and Nelsons met with first rate skill.

More buffoon than genuinely wicked, HawlataвЂ™s comic timing was perfect, and in facial expressions, gross fumbling of Mariandel (Octavian) and Sophie, pseudo-deference to the Marschallin or curtly dismissive attitudes to people below him, Hawlata's Baron was both repugnant and utterly amusing. Sophie BevanвЂ™s young, inexperienced but soon to be enlightened Sophie von Faninal was restricted to a purely вЂvocal performanceвЂ™ in that she was working from the copy which, even in a concert performance could have achieved more dramatically, but the singing was excellent and Bevan, who gets the highest role of the opera, was phenomenally clear in passages of extended quick-fire diction or soaring melody вЂ“ I would love to see her act the part on stage.Дespite this extraordinary trio of ladies, the star of the show was Franz HawlataвЂ™s Baron Ochs who, aside from singing excellently with a seemingly flawless technique and delicious bass, created a Baron of outstanding depth and humour every line and phrase was coloured with understanding. Her familiar rich, warm tone and sheer vocal force displayed some of her best singing across the board from hilarious caricature in her вЂMariandelвЂ™, to poignant sensitivity in duets with the Marschallin or Sophie, and amusing confrontational scenes with the Baron.

Der rosenkavalier for brass quintet sheet music full#

A gifted actress, Coote filled the hall with full blooded, boisterous comedy and perfect diction as well as remarkable sensitivity. The 17-year old Count Octavian was magnificently portrayed by Alice Coote. In action, Isokoski was extremely economical and all unnecessary pacing about was eliminated, while useful visual gestures were restrained to the point of being nothing less or more than noble. Always elegant in her MarschallinвЂ™s anxiety, annoyance or happiness, Isokoski sang with a clear, focused tone that ultimately failed to secure her Octavian, but won over every man and woman in the concert hall instead.

Effectively a comedy of manners awash with genuine romantic sentiment, the plot hangs on the problematic relationships surrounding the four principal characters ranging from the neurotic, aristocratic and adulterous Marschallin, to her cousin, the self-important and obnoxious Baron Ochs, her teenage lover, the boisterous and fickle Octavian, and the pure, sensitive Sophie.ДЄs HofmannsthalвЂ™s poised but melancholy Marschallin, whose misplaced romantic fantasies are untidily hidden behind the bed вЂ“ itвЂ™s all well and good giving her glorious tune to sing, but when itвЂ™s time to face the music she is engaging in an emotional relationship with a teenage boy about a third of her age вЂ“ Finnish superstar Soile Isokoski was the image of respect commanding regal deportment. Glorious singing and informed characterisations infused with wickedly witty humour and passionate sensitivity, made for one of the most entertaining Strauss performances I have seen.Д«eneath the sumptuous orchestral scoring and masterly vocal writing, Der Rosenkavalier is easily Strauss and HofmannsthalвЂ™s most enduring comic masterpiece. The City of Birmingham Symphony Orchestra and their Boston-bound conductor Andris Nelsons have a happy history of presenting opera in concert performance, and SundayвЂ™s Der Rosenkavalier was nothing short of superb.