Ms. Fleming sang Strauss’s fraught strains with an affecting mix of tremulous anxiousness and wistful heat. Ms. Garanca’s Octavian, wanting as if he had absorbed a physique blow, delivered a teary-eyed, bewildered but self-absorbed response. Watching Octavian’s misery, Ms. Fleming’s Marschallin melted and, summing motherly consolation, stroked her disconsolate lover’s head.
The conductor Sebastian Weigle led a distinguished efficiency that captured the restlessness of the music’s heated episodes, whereas drawing out its chic flights and pungent sonorities. Mr. Carsen’s manufacturing updates the setting to Vienna in 1911, the yr of the opera’s premiere, a time when the aristocratic order that had endured for hundreds of years was about to crumble below the horrors of World Warfare I, as he has defined in interviews.
That updating (with units by Paul Steinberg and costumes by Brigitte Reiffenstuel), successfully plumbs the story’s undercurrents. However Mr. Carsen has extra in thoughts than giving the opera an early 20th-century veneer. “Der Rosenkavalier” has profoundly stunning music. However this lengthy work will get slowed down with heavy-handed comedic episodes that final too lengthy, largely involving the crude, blustering Baron Ochs, a cousin of the Marschallin.
Mr. Carsen, whose up to date manufacturing of Verdi’s “Falstaff” was a excessive level of current Met seasons, needs us to think about the seedy, disturbing underside of the comedian parts. He goes too far typically. A large contingent of the viewers booed him and the manufacturing staff throughout curtain calls. However they gained many bravos as effectively. I love the way in which he goes all out along with his intriguing take.