Two women cavorting on a bed greet the eyes of the audience as Opera North unleash their new production of Der Rosenkavalier by Richard Strauss on the public for what is the start of a four hour feast of music. Back to the bed, for all is not what it seems, for one of the women is vying to be a seventeen year old youth who the other woman fancies. It is tradition to have a woman play the part of the youth, for later in the opera cross dressing takes place, but that would be giving the plot away and we cannot have that, you have to go and see this story of intrigue and love set to music. First performed in Dresden in 1911 it was the second collaboration of Richard Strauss with Hugo von Hofmannsthal.

Deanne Meek takes the part of the seventeen year old youth Octavian, a gentlemen of a noble family and makes a superb job of it as she brings her mezzo soprano voice to bear with Strauss’ music. Her married fancier The Marschallin, the Princess of Werdenberg, played by the soprano Janis Kelly creates just the right blend of voice for their many duets. There are real men around, but non get the amount of exposure as do the women who take full advantage of what is wanted of them. One man indispensable to the plot is the Baron Ochs played by Conal Coad the over aged suitor with a big bass voice and antics to match. The trio between Octavain, the Marschallin and the young distraction Sophie von Faninal, played by soprano Marie Arnet, is particularly fine and probably the best singing in the opera. Nice staging of numbers, such as the scene with the hairdresser are archived by director David McVicar who also is responsible for the not very inspiring sets. Dietfried Bernet takes care of the music with the orchestra of Opera North who give what is expected of them.

The time flew bye and those who were not there missed a treat, so if this opera comes your way have an early tea and make the effort to see it. Just one slight problem during the intervals, the audience were having to read Henrietta Bredin’s programme synopsis to find out what had gone on on stage. A list of the music sung and what voices the singers were bringing to bear on their parts would also add substance to the programme. The trilling of the voices lost the fact that the performance was in English. When will one line surtitles be used above the stage in all performances so that the opera can be as great as it is meant to be. © BA

“Der Rosenkavalier” is in Hull on the 26th of October, 2002 and then continues a nation wide tour.