Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Editorial Apparatus and Critical Notes
- Note on Translations
- List of Abbreviations
- Timeline of Nadia Boulanger’s Life
- Introduction
- Part One Journalism, Criticism, Tributes
- Part Two Lectures, Classes, Broadcasts
- Bibliography of Nadia Boulanger’s Published Writing
- General Bibliography
- Index
“Le Chevalier à la Rose” Le Monde Musical 38, no. 2 (February 1927): 57-59 (complete text)
Published online by Cambridge University Press: 15 October 2020
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Editorial Apparatus and Critical Notes
- Note on Translations
- List of Abbreviations
- Timeline of Nadia Boulanger’s Life
- Introduction
- Part One Journalism, Criticism, Tributes
- Part Two Lectures, Classes, Broadcasts
- Bibliography of Nadia Boulanger’s Published Writing
- General Bibliography
- Index
Summary
Concerts Reviewed
February 11, 1927 (Théâtre de l’Opéra)
Der Rosenkavalier, op. 59, Richard Strauss
Der Rosenkavalier was premiered in Dresden in 1911—some years, particularly terrible ones, have gone by—and it was right to wonder, when listening to this work again after such a silence, how it had withstood the test of time.
Its flaws remain blatant, its lack of proportion is almost unbearable in places, and yet, the picturesque and purely emotive qualities that the work, on this new hearing, has acquired are so dazzling, so striking; it seems at once more lively, more entertaining, and more profound.
Here is a sketch of the opera's plot, since it is impossible to describe it in detail.
The action takes place in Vienna during the first few years of the reign of Maria Theresa.
I. The beautiful Marchioness, Princess Werdenberg, is the mistress of a young adolescent, Count Octavian. One morning, they are caught by surprise by the noisy and untimely arrival of Baron Ochs of Lerchenau, a relative of the Marchioness, who comes to announce his imminent wedding with Sophie de Faninal, a young woman of humble birth but who is a rich heiress. To conceal himself, Octavian puts on the clothes of one of the Princess's ladies-in-waiting, and his sweet young face attracts the baron who, without a thought about his recent engagement, invites Octavian to his inn. Meanwhile, he reveals the reason for his visit to the Marchioness and asks her to choose, among their relatives, the young knight who, according to tradition, will bring Sophie a silver engagement rose. She suggests Octavian, showing Baron Ochs his portrait.
But it is now time for the Marchioness's toilette and it is also time for petitioners; among them are two Italian schemers who offer the Baron their services to watch over his future wife. Then, everyone leaves and, finally alone, the Marchioness indulges in melancholic thoughts that are momentarily interrupted by the return of Octavian; a return that makes her feel even more the sadness of fading love and vanishing youth. And she is the one who undoes the ties that she senses are already breaking: she sends Octavian the silver rose that he will bring to the pretty Sophie.
II. Faninal and Sophie are waiting for the arrival of the Knight of the Rose, he arrives, surrounded by a superb entourage.
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- Nadia BoulangerThoughts on Music, pp. 193 - 200Publisher: Boydell & BrewerPrint publication year: 2020