Secondary

Abbate, Carolyn and Roger Parker. A History of Opera. Updated ed. New York and London: Norton, 2012.

On pp. 456–70, Rosenkavalier is considered in the light of operatic and musical history, as embodying a “new operatic aesthetic,” with “avant-garde” qualities. The characterization of Baron Ochs is viewed as complex; a reminder not to “over-value the fastidious gallantry of the other main characters.”

Avant-scène Opéra, L’. Le chevalier à la rose. Paris: Édition Premières Loges, 1997.

In French. L’Avant-Scène Opéra is a periodical; each issue is a book-length guide to an opera. Contains a libretto with French translation, accompanied by running commentary with musical examples. Numerous brief essays on various aspects of the opera; observations from noted singers; a critical discography, including 78 r. p m. recordings; videography; list of notable productions; bibliography.

Beck-Mannagetta, Christian. Der Ochs von Lerchenau: Eine historische Betrachtung zum “Rosenkavalier.” Vienna: Edition Praesens, 2003.

Advances the view that Daniel Mannagetta-Lerchenau (1792–1831) was the model for Baron Ochs. Other interesting historical background found in Austrian archives is presented.

Bartl, Maria Elisabeth. “Zum Verhältnis von Sprachbau und Singstimme.” In Schlötterer, Musik und Theater.

Looks at rhetorical devices in Hofmannsthal’s text, such as chiasmus or rhyme, and how Strauss’s setting mirrors them, or at times ignores them. Studies Strauss’s treatment of vocal and orchestral textures in lyrical or parlando passages.

Blom, Eric. Strauss: “The Rose Cavalier.” London: Humphrey Milford, Oxford University Press, 1930.

A guide to the opera, concentrating entirely on retelling the plot, with musical examples; there is no libretto, account of the opera’s creation, etc.

Bottenberg, Joanna. Shared Creation: Words and Music in the Hofmannsthal-Strauss Operas. Frankfurt: Peter Lang 1996.

A survey of the Strauss-Hofmannsthal collaboration, looking at how the interaction of the two men shaped the operas: both specific passages in the operas, and over time, the overall style and approach employed.

Branscombe, Peter. “Some Observations on the Sources of the Strauss-Hofmannsthal Opera Librettos.” In W. E. Yuill and Patricia Howe, ed.: Hugo von Hofmannsthal (1874–1929): Commemoration Essays. ([London]: University of London Printing Section, ca. 1981.

This includes Branscombe’s observation that in Bizet’s opera La jolie fille de Perthe, one character gives his sweetheart a golden rose.

Cerf, Stephen R. “Morning, Noon and Night.” Opera News, 2 March 1991, 18–20.

Discusses the maturation of Octavian’s personality over the course of the opera.

Frank-Döfering, Peter. Adelslexikon des österreichischen Kaisertums 1804–1918. Vienna: Herder, 1989.

Contains a useful overview of the grades of the Austrian nobility.

Edelmann, Bern. “Tonart als Impuls fur das Strauss’sche Komponieren.” In Schlötterer, Musik und Theater.

Shows how Strauss proceeded from brief jottings of key signatures, in specific passages, to larger tonal relationships.

Gerlach, Reinhard. Don Juan und Rosenkavalier: Studien zu Idee und Gestalt einer tonalen Evolution im Werk Richard Strauss’. Berne: Paul Haupt, 1966.

In the Rosenkavalier section of his book, Gerlach maintains that the psychological arcs traced by Hofmannsthal are mirrored extremely closely in Strauss’s music; thus the composer’s frequent modulations are not merely arbitrary.

Gilbert, Mary E. “Painter and Poet: Hogarth’s ‘Marriage a la Mode’ and Hofmannsthal’s ‘Der Rosenkavalier.’” Modern Language Review 64, no. 4 (Oct. 1969): 818–827.

Though students have long been aware of the parallels between the levee scene in Act I and Hogarth’s painting, “The Countess’s Morning Levée” (part of his cycle “Marriage à la Mode”), Gilbert maintains that Hofmannsthal drew even more extensively on Hogarth’s entire cycle for many details in the libretto. Gilbert also discusses writings on Hogarth that Hofmannsthal may have known, and qualities in Hogarth that may have appealed to Hofmannsthal.

Gilliam, Bryan. “Strauss’s Preliminary Opera Sketches: Thematic Fragments and Symphonic Continuity.” 19th-Century Music 9, no. 3 (Spring, 1986): 176–188.

Describes how Strauss began work by making very brief musical jottings (short figures, key signatures), then progressed to longer statements. Rosenkavalier receives much attention, though other works are studied as well.

Gilliam, Bryan. Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 2014.

This book, which studies all of Strauss’s operas, analyzes Rosenkavalier alongside Elektra, as showing the progression of Strauss and Hofmannsthal toward “the social.”

Giordano, Charles B. “On the Significance of Names in Hofmannsthal’s ‘Rosenkavalier.’” German Quarterly 36, no. 3 (May, 1963): 258–26.

Giordano finds that Hofmannsthal’s choice of names and epithets (whether to say “Octavian,” or “Quinquin,” or “der Rosenkavalier”) is guided by a subtle literary sense. This is not primarily a study of the sources or meanings of characters’ names.

Hart, Beth. “Strauss and Hofmannsthal’s Accidental Heroine.” Opera Quarterly 15, vol. 3 (Summer 1999): 414–35.

Explores the psychological depth of the Marschallin’s portrayal; notes analogies between her and Empress Maria Theresa.

Hartlieb-Walltor, Artur. “Die Personen im ‘Rosenkavalier.’” Richard Strauss-Blätter 30: 35-52.

Discusses possible 18th-century models or sources for characters in the opera, especially Octavian and the Marschallin.

Heldt, Gerhard. “. . . aus der Tradition gestaltet: ‘Der Rosenkavalier’ und seine Quellen.” In Detlef Altenburg, ed.: Ars musica, musica scientia: Festschrift Heinrich Hüschen zum fünfundsechzigsten Geburtstag am 2. März 1980. Cologne: Gitarre und Laute Verlagsgesellschaft, 1980.

Enumerates Hofmannsthal’s literary and pictorial sources, and notes the link between the opera, the Casanova material, and Cristinas Heimreise. Also suggests Così fan tutte as a source, with its bittersweet tone and prominent female characters.

―――. Der Rosenkavalier. Schriftenreihe Die Oper. Berlin: Robert Lienau, 1981.

In German. A guide to the opera: its genesis, background, story, musical themes, etc.

Hoffmann, Dierk O. “War anders abgemacht! Marie Theres’, ich wunder mich!” Richard Strauss-Blätter 31: 34–41.

In German. Addressing the same questions as in his article “Zum Auftritt der Marschallin,” Hoffmann argues that a coincidental entrance of the deus ex machina type would nudge Rosenkavalier in the direction of a mere “genre” entertainment.

Hoffmann, Dirk. “Zu Harry Graf Kesslers Mitarbeit am ‘Rosenkavalier.’” Hofmannsthal-Blätter 21/22 (1979): 153–60.

Concludes that Kessler’s contribution to Rosenkavalier was limited, since many essential decisions about the opera were made without Kessler’s input, and that therefore Hofmannsthal’s assessment of their collaboration is a fair one.

―――. “Zum Auftritt der Marschallin im dritten Akt des ‘Rosenkavaliers.’” Hofmannsthal-Blätter 23/24 (1980/81): 94–101.

The entrance of the Marschallin in Act III has puzzled students of the opera, and stage directions pertaining to it differ in different versions of the text (book edition, full score, etc.) Hoffmann analyzes how these variants may have arisen, and shows that Hofmannsthal had an explanation for the entrance in mind from the beginning.

Jefferson, Alan. Richard Strauss: “Der Rosenkavalier”. Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1985.

In English. This guide contains chapters on the genesis of the opera, its sources, and an overview of some notable productions. A chapter on the reception of the opera and Jefferson’s own chapter “Interpretation” provide a critical context. There are useful appendices on Hofmannsthal’s use of the German language, textual variants, cuts, etc. The lengthy synopsis is an abridgement of the one by Norman Del Mar, in his book on Strauss.

―――. “Tonality of the Rose.” Richard-Strauss-Blätter 25: 26–43.

Proposes that in Rosenkavalier, “each character or situation in the opera has its particular key, or keys” (e.g. the Marschallin and E major).

John, Nicholas, ed. Der Rosenkavalier. English National Opera Guide 8. New York: Riverrun, 1981. In English.

This guide, part of the English National Opera series of handbooks, contains the libretto, an English singing translation (an extensive revision of the Alfred Kalisch translation), a synopsis of the opera correlated to a list of the main musical motifs, and essays on Hofmannsthal and on the opera itself.

Jones, Joseph E. “Der Rosenkavalier”: Genesis, Modeling and New Aesthetic Paths. PhD diss., University of Illinois, 2009.

Detailed study of the genesis of the score, and works that served Hofmannsthal and, especially, Strauss as models.

Kennedy, Michael. “Composing the Cuts.” Opera News, 4 March 1995, 22 ff.

Discusses the practice of taking cuts in Strauss operas, with detailed information on fifteen cuts in Rosenkavalier approved by the composer.

Kleie, Stefan. “Der Rosenkavalier” und die Spektakelkultur der Moderne: Werkpolitik, Rezeption, Analysen. Dresden: Thelem, 2019.

Looks at the first production of the opera in terms of “spectacle,” as defined by the critic Guy Debord. Finds that the reception of the opera as a work of sentiment with emphasis on the Marschallin is a later development. Much detailed analysis of the verbal text and of the practical aspects of the first production.

Kragl, Florian. Gottfrieds Ironie: Mit einem Nachspruch zum “Rosenkavalier.” Berlin: Schwabe, 2019.

A study of how writers manipulate stereotypes and familiar tropes, in a book mainly devoted to the medieval Tristan, but with one chapter on Rosenkavalier. Includes a perceptive close reading of the Act II duet “Mit ihren Augen.”

Lehmann, Lotte. Five Operas and Richard Strauss. New York: Macmillan, 1964.

Writing in a warm, personal style, Lehmann intersperses recollections and a retelling of the plot. The focus is on the psychological depth of the characters in the opera, especially the Marschallin, one of her most famous roles.

Leibnitz, Thomas. Richard Strauss: 100 Jahre “Rosenkavalier.“ Vienna: Österreichische Nationalbibliothek, 2010.

Written to accompany the Austrian National Library’s exhibition marking the 100th anniversary of the opera’s premiere, illustrated with images of objects exhibited (books, photographs, letters, etc.). Two essays, on the genesis of the opera, and Strauss’s connection to Vienna.

Levang, Rex. “’Der Herr geb’ Seinen Namen an!’: Where Does the Name Faninal Come From?” Richard Strauss Jahrbuch 2016, 153–56.

Hofmannsthal took the name “Faninal” from a work of popular history, unaware that the name there was a misprint for the historical name “Janinal.”

Lockwood, Lewis. “The Element of Time in ‘Der Rosenkavalier.’” In Bryan Gilliam, ed.: Richard Strauss: New Perspectives on the Composer and His Work. Durham, NC: Duke University Press, 1992.

Explores aspects of time in the libretto, and finds that Strauss reflects this theme in his compositional choices, by using either his “own” style of 1910, the 19th-century waltz, or the language of Viennese Classicism.

Mann, William. Richard Strauss: A Critical Study of the Operas. New York: Oxford University Press, 1966.

Mann’s chapter on Rosenkavalier provides a lengthy and perceptive retelling of the plot, with musical examples; good summation of Hofmannsthal’s sources.

Messmer, Franzpeter. “Der Rosenkavalier und die Tradition der musikalischen Kritik um 1911.” In Schlötterer, Musik und Theater.

In the early 20th century, there was a great interest in comic opera in Germany, though Rosenkavalier is the only such work of the period to have remained in the repertoire (operettas excepted). Messmer looks at comedies by Wolf, Wolf-Ferrari, Humperdinck, and others, and compares their work with that of Strauss and Hofmannsthal.

Metropolitan Opera. Richard Strauss: “Der Rosenkavalier.” Metropolitan Opera Classics Library. Boston: Little, Brown, 1982.

In English. With an essay on the personalities of Hofmannsthal and Strauss; a “story adaptation” by the novelist Anthony Burgess; a libretto with a revision of Kalisch’s translation; numerous illustrations; and details of Rosenkavalier productions at the Metropolitan Opera (dates, casts, etc.)

Mommsen, Katharina. Hofmannsthal und Fontane. Stanford German Studies, v. 15. Bern: Peter Lang, 1978.

Argues that Hofmannsthal was crucially influenced by the novelist Theodor Fontane, Rosenkavalier being influenced by Die Poggenpuhls and Graf Petöfy.

Mühlher, Robert. Österreichische Dichter seit Grillparzer. Vienna: Wilhelm Braumüller, 1973.

A close reading of Hofmannsthal’s text by a literary critic, showing how the characters embody each other’s dreams and fantasies. Behind the charm of the comedy, the author detects darker elements of aggression, blood sacrifice and atonement.

Okada, Akeo. “Oper aus dem Geist der symphonischen Dichtung: Über das Formproblem in den Opern von Richard Strauss.” Archiv für Musikwissenschaft, 53. Jahrg., H. 3. (1996), pp. 234–52.

Finds symphonic procedures of exposition, thematic contrast, etc., in the Strauss operas, including Rosenkavalier, which in this way is closer to Elektra and Salome than is often assumed.

Pahlen, Kurt. Richard Strauss: “Der Rosenkavalier.” Opern der Welt. Munich: Wilhelm Goldmann Verlag, 1980.

In German. This guide contains the German libretto and on facing pages, running commentary, including musical examples, and notes on difficult words.

Pörnbacher, Karl. Hofmannsthal—Strauss: “Der Rosenkavalier.” Munich: R. Oldenbourg, 1964.

In German. An introduction to the work for students in literature classes in secondary schools. There is one chapter of musical analysis.

Renner, Ursula. “Die Inszenierung von ‘Geschlecht’ im Zeichen der Melancholie: Hofmannsthals ‘Rosenkavalier.’” In Ilija Dürhammer and Pia Janke, ed.: Richard Strauss—Hugo von Hofmannsthal: Frauenbilder. Vienna: Edition Praesens, 2001.

Studies the ways in which Hofmannsthal explores gender roles (woman as nurturing mother, male as hunter, etc.), giving them theatrical and dramatic form. The Marschallin is viewed as one of the few female melancholics in literature.

Reynolds, Michael. Creating “Der Rosenkavalier”: From Chevalier to Cavalier. Woodbridge, UK: Boydell, 2016.

Though the origins of this book are in Reynolds’s thesis (below), it has been rewritten and amplified, to make it a book for a general readership. A key work in Hofmannsthal scholarship.

Reynolds, Michael. The Theatrical Vision of Count Harry Kessler and its Impact on the Strauss-Hofmannsthal Partnership. PhD diss., Goldsmiths, University of London. 2013.

Traces, more thoroughly than any previous work, the genesis of the libretto: how it was shaped by the relationship between Hofmannsthal and Kessler, and its origins in the operetta L’ingénu libertin. Credits Kessler with an essential role in creating the opera and making it a theatrical success.

Roller, Alfred, artist. Strauss, Richard: “Der Rosenkavalier”: Figurinen und Bühnenbildentwürfe von Alfred Roller. Vienna: Dr. Richard Strauss Verlag, 1996.

This is a reprint of the Roller designs published at the time of the premiere for use by opera houses. It consists of 49 plates, issued as unbound single sheets: 45 costume designs, three set designs, and one plate with the floor plans for all three sets. All are in color except for the last. The reprint includes a short introduction by Franzpeter Messmer (in German and English), with information about Roller and an appreciation of his role in the creation of the opera.

Schlötterer, Reinhard. “Komödie als musikalische Struktur.” In Schlötterer, Musik und Theater.

Analyzes Strauss’s compositional technique in close detail, especially his use of motifs, small melodic figures, and chords.

Schlötterer, Reinhard, ed. Musik und Theater im “Rosenkavalier” von Richard Strauss. Sitzungsberichte, vol. 451 (Österreichische Akademie der Wissenschaften. Philosophisch-Historische Klasse), 1985.

Contains articles by Bartl, Edelmann, Messmer, Roswitha Schlötterer, and Schlötterer himself (see individual listings).

Schlötterer, Roswitha. “Die musikalische und szenische Bedeutung der Rosenkavalier-Walzer.” In Schlötterer, Musik und Theater.

Analyzes Strauss’s artistic use of the Viennese waltz, and looks at the orchestral “waltz sequences” from Rosenkavalier prepared by Strauss and others.

―――.‘“Der Rosenkavalier’ in der zeitgenössichen Kritik.” In Schlötterer, Musik und Theater.

Critical reception of Rosenkavalier at its first performances was decidedly mixed, as is shown by the lengthy excerpts reproduced here.

Schönemann, Martin. Rokoko um 1900. Bremen: Edition Lumière. 2004.

Explores the roots and manifestations of a “rococo revival” that took place in the arts and in culture around 1900, especially in Austria and Southern Germany. Rosenkavalier is seen as a late example of this trend; although the opera was first conceived as a playful rococo-like work, it took on more serious elements in the course of composition.

Schuh, Willi. Der Rosenkavalier: Vier Studien. Olten, 1968.

The longest of the four essays is about the genesis of the opera. The three briefer ones treat the Tenor’s aria, the final scene, and late changes to the libretto. Schuh was Strauss’s official biographer.

Vogel, Juliane. “Chérubin mouillé: Hosenrollen in den Operndichtungen Hugo von Hofmannsthals.” In Ilija Dürhammer and Pia Janke, ed.: Richard Strauss—Hugo von Hofmannsthal: Frauenbilder. Vienna: Edition Praesens, 2001.

The author compares Octavian with Mozart’s Cherubino and Suppé’s Wladimir, in the operetta Fatinitza. She explores the ways in which Strauss, Hofmannsthal, and Roller have made Octavian an androgynous figure and finds that the opera presents an eros based not on opposites but on similarity and fine distinctions.

Wandruszka, Adam. “Das Zeit- und Sprachkostüm von Hofmannsthals ‘Rosenkavalier’.” Zeitschrift für deutsche Philologie 86 (1967): 561–70.

Noting that Rosenkavalier has roots in a late 19th-century “cult” of Maria Theresa, Wandruszka looks at the use of the Khevenhüller diaries as a source.

Weisstein, Ulrich. “(Pariser) Farce oder wienerische Maskarade? Die französischen Quellen des ‘Rosenkavalier.’” Hofmannsthal-Forschungen 9 (1987): 75–103.

Discusses sources for the libretto, French and non-French, and discovers that some details of the libretto derive directly from the operetta L’ingénu libertin, not from its literary source, the novel by Louvet.

Williams, Simon. “‘Der Rosenkavalier’ and the Idea of Habsburg Austria.” In Suzanne M. Lodata, ed.: Word and Music: Essays in Honor of Steven Paul Scher and on Cultural Identity and the Musical Stage. Word and Music Studies 4. Amsterdam: Rodopi, 2002.

Describes the genesis of the opera, and explores the way in which themes of Habsburg history, such as the dynamic of change and stasis, heterogeneity and unity, are mirrored in Rosenkavalier.