{"id":16249,"date":"2014-03-07T12:19:58","date_gmt":"2014-03-07T16:19:58","guid":{"rendered":"http:\/\/www.musicalamerica.com\/mablogs\/?p=16249"},"modified":"2018-02-10T12:32:45","modified_gmt":"2018-02-10T16:32:45","slug":"petrenko-silvers-his-rose","status":"publish","type":"post","link":"http:\/\/www.musicalamerica.com\/mablogs\/?p=16249","title":{"rendered":"Petrenko\u2019s Rosenkavalier"},"content":{"rendered":"

\"Otto<\/p>\n

By ANDREW POWELL
Published: March 7, 2014<\/span><\/p>\n

MUNICH \u2014 Kirill Petrenko<\/a> unobtrusively passed the litmus test of Der Rosenkavalier<\/i> here this week, shaping the score on his own terms (March 5) amid the hoopla of his Bavarian State Opera<\/a> company\u2019s 2014\u201315 season<\/a> announcement.<\/p>\n

Energetic, vivid, not so flexible, often perilously fast or loud, but dynamically controlled, it was Strauss in the vein of Fritz Reiner more than departed local deity Carlos Kleiber (or for that matter Herbert von Karajan or Christian Thielemann). The orchestra scrambled at the start, and moments of repose through the evening were few.<\/p>\n

Onstage the Generalmusikdirektor<\/i> from Omsk, 42, had support in the experienced, affecting Feldmarschallin of Soile Isokoski<\/a> and the commanding, comic Ochs of Peter Rose<\/a>. But Mojca Erdmann<\/a> worked hard for volume as a stiff, vaguely shrewish Sophie, and Alice Coote<\/a>\u2019s mezzo-soprano sounded stronger on top than in the middle, where the Knight\u2019s music lives.<\/p>\n

Otto Schenk<\/a>\u2019s faithful 42-year-old production \u2014 it entered the world 69 days after Petrenko and is now under threat of replacement \u2014 moves traffic with consummate expertise in Act I and still guarantees applause for the opulence of its Act II.<\/p>\n

Photo \u00a9 Wilfried H\u00f6sl<\/p>\n

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\nA Complete Frau, at Last<\/a>
\nSee-Through Lulu<\/a>
\nBretz\u2019s Dutchman, Alas Miked<\/a>
\nThielemann\u2019s Rosenkavalier<\/a><\/p>\n