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I

Opera El Caballero de la Rosa , Richard Strauss, kept busy for some historians. They tried to find out if, indeed, among the Austrian nobility of the eighteenth century it was customary that the groom was presented for the first time by sending a formal silver rose to the house of the bride. Perhaps the idea of \u200b\u200bthis practice came from the imagination of the poet Hugo von Hofmmansthal, who wrote the script (now known that von Hofmmansthal was inspired by a ceremony in which the Pope gave them a golden flower noble or virtuous women).

                                                                                 Hugo von Hofmmansthal and Richard Strauss in 1915.

II

The duo The Presentation of the Rose is one of my favorite pieces of music. The young Octavius, played by a mezzo-soprano, goes home in Sofia. He is the bearer of the rose, as an emissary of his cousin, the Earl of Lerchenau. Then occurs the classic crush. Octavio Sofia and polite phrases go, almost ritual, to express, as if they think for themselves, the hesitations and exaltation of love at first sight. The silver rose becomes the object from which the characters allude to the happiness of the meeting.

A convention-scored in the script, is that the characters wear silver clothes. Also on stage tend to dominate the color of silver. It's a way to accentuate the brilliance of the orchestration. The music and voices of the singers aspire to provide an image of the splendor of the rose and the intensity of the feelings of Octavian and Sophie.

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The mezzo-soprano Anne Sophie von Otter (Octavian) and the soprano Barbara Bonney (Sophie), led by Carlos Kleiber in 1994.