Richard Strauss’ light-hearted comedy “Der Rosenkavalier” combines music, literature and customs. In doing so, it paints an extremely realistic picture of Vienna in the 1840s - even if the tradition of the Rosenkavalier, who delivers a silver rose to the bride on behalf of the groom for the courtship, is an invention.For the libretto, Strauss (1864-1949) had once again teamed up with his friend and literary figure Hugo von Hoffmannsthal. “Der Rosenkavalie” was one of the composer’s most popular works, and in addition to the opera, the non-musical play version was also very popular with audiences.Strauss and von Hoffmannsthal had a very precise idea of their characters: be it the beautiful Field Marshal Princess Werdenberg, who was unhappily married at a very young age, now in her early 30s mourning her youth and distracting herself with amorous adventures; or Baron Ochs auf Lerchenau, a nobleman, albeit somewhat coarse and at the same time an outspoken womanizer, who would like to marry the blood-young Sophie primarily for her dowry, but is himself available for any hanky-panky.Not only in terms of content, but also musically, “Der Rosenkavalier” differs greatly from the two previously composed, avant-garde operas “Salome” and “Elektra”; Viennese waltzes and folk melodies, Baroque allusions with Romantic sensibility are mixed in.

With “Elektra”, the Munich composer Richard Strauss (1864-1949), after “Salome”,once again places a woman thirsting for revenge at the center of his one-act opera. Although the composer initially had doubts as to whether these two works were too close in content, librettist and poet Hugo von Hofmannsthal was able to dispel Strauss’s misgivings. The opera celebrated its premiere in 1909 at the Dresden Court Opera.Elektra cannot forgive her mother Clytemnestra for killing her father Agamemnon with her lover Aegisth. She has secretly placed her brother Orest with a nurse who is to raise him as an avenger, since Elektra herself is too weak to atone for the murder. Thus, while waiting for Orest’s return, Elektra lives with her sister at the home of her mother and her lover. Meanwhile, Clytemnestra is plagued by nightmares, which she hopes will be alleviated by Elektra, of all people. However, Elektra says in no uncertain terms that only her death can take away her dreams. When the news of Orest’s death reaches the court, Clytemnestra is relieved, while Electra is devastated. She plans to take revenge herself with the help of her sister, but she refuses. When a stranger enters the court, Electra recognizes her brother in him; the news of his death was a diversion. Orest atones for his father’s death, and Elektra celebrates ecstatically until she collapses dead.