When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss' score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz, chief conductor at the Konzerthaus Berlin, conducts the Orchester der Oper Zürich.
Lydia Steier, Michael Beyer
Director
Diana Damrau
Die Feldmarschallin Fürstin Werdenberg
Günther Groissböck
Der Baron Ochs von Lerchenau
Bo Skovhus
Herr von Faninal
Angela Brower
Octavian
Emily Pogorelc
Sophie
Christiane Kohl
Jungfer Marianne Leitmetzerin
Irène Friedli
Annina
Nathan Haller
Valzacchi
Rebeca Olvera
Eine Modistin
Johan Krogius
Der Hausmeister der Feldmarschallin/Ein Wirt
Stanislav Vorobyov
Ein Polizeikommissar
Cord Jefferson's hilarious and thought-provoking film continues a long-standing cinematic tradition, expanding the conversation around the impact of systemic racism in today's media.
If you identify as part of the queer community, or if you love old school slasher flicks, you will love this movie.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
When they’re young, they’re America’s darlings but, when they become teens and adolescents, they’re instantly perceived as harbingers of immorality. They’re Lindsay Lohan, Macaulay Culkin, Justin Bieber, and Britney Spears. But, despite what many media outlets, politicians, and the general public may think, they are human beings above anything else. The new Billie Eilish documentary, Billie Eilish: The World’s A Little Blurry, proves this — showing the trials, tribulations, and humanity when growing up with all the world’s eyes on you.
As one of the women said in the film, friendship in your teens is “as important as any lover” and it’s clear they lived that philosophy throughout their early adult lives as well.