For a true genius, the world is open in its entirety; the artist equally embodies both its terrible and beautiful faces, the sublime aspects of life and the base ones. That's exactly what he was. The figurative range of his symphonic poems extends from the philosophical ideas of Friedrich Nietzsche to uncontrollable laughter. His operatic work turned out to be just as “universal”. The ugly face of the world was embodied in Elektra, but these gloomy and even scary operas were followed by the cheerful comedy Der Rosenkavalier - which we will tell you about.

The idea for the opera arose in 1909 - five years remained before the outbreak of the First World War, but clouds were already gathering over Europe. The alarming atmosphere of those years was aggravated by the emerging art of the avant-garde... Yes, it was true, yes, it ideally reflected the gloomy reality - but the human soul cannot be fed by the harsh truth of life alone! If the present does not provide a reason for joy, a person begins to look for it in the past - it is no coincidence that in the years preceding the First World War, productions of comedies by Moliere and Beaumarchais attracted full houses. Such sentiments could not be alien to Richard Strauss - and he creates an opera, focusing on the works of other composers of the 18th century.

Hugo von Hofmannsthal, who wrote the libretto of Electra, again becomes Strauss's co-author. The composer and librettist turned to the era of Empress Maria Theresa. According to Hofmannsthal, “all the characters appeared as if from underground and began to act.” The playwright didn’t even immediately come up with names for them - at first they were simply “a jester, an old man, a young girl, a lady,” in a word, generalized types of characters in a comic opera of the 18th century. And the librettist immediately calls only one of them by name - “Cherubino”. Of course, in the libretto of Strauss's opera, the hero received a different name - he became Octavian, but the similarity with Mozart's character is undeniable: he is young (so much so that he very convincingly manages to pretend to be a maid, dressed in a woman's dress), and most importantly, his heart is open to love. Like the role of Cherubino in Mozart, the role of Octavian is assigned to a woman.

The basis of the plot is as traditional as the types of characters - it was very aptly stated in a letter to Strauss by Hofmannsthal: “A fat, arrogant gentleman who is beginning to grow old, intending to marry and enjoying the favor of the father of the girl he likes, is supplanted by a young, handsome man.” But this simple motif is so embellished with all sorts of unexpected twists that the viewer does not notice how time flies (and this is the longest of Strauss’s operas - it lasts about four hours). There is also a “love triangle” motif in “Der Rosenkavalier”, but it does not bring much drama: the Marshal, an aristocrat experiencing the last years of her fading youth, understands from the very beginning that her relationship with her young lover will soon come to an end, and in the finale she and she is inferior in great dignity to his young rival, with whom he will be happily married.

What musical embodiment did the composer give to this light, cheerful plot? The opera truly sparkles with charming melodies - sometimes dreamy, sometimes light and “airy”. The cantilena alternates with a plastic recitative, the orchestral texture is relatively transparent. Refusing to unfold an “endless melody,” the composer encloses musical thoughts in the form of arias, duets, terzets and other traditional operatic forms; at the climactic moments, a choir or buffoon ensembles appear at a rapid pace. It seems that there were no decades of development of symphonized “musical drama”! Some moments - for example, the ceremony of presenting a silver rose to the bride - are reminiscent not even of Mozart’s time, but of the music of the Rococo era, and the aria of the tenor singer, who came to the Marshalsha along with other visitors, is in the spirit of the Old Italian canzone.

And yet, it is impossible to talk about a “return to the 18th century” in relation to “Der Rosenkavalier” - the composer deliberately allows for “musical anachronism.” The waltz becomes this “anachronism” - it is no coincidence that “Der Rosenkavalier” was given the nickname “waltz opera”.

The premiere of the opera “Der Rosenkavalier” took place in 1911. Critics reproached the composer for everything: diversity of style, verbosity, bad taste, and even “escape from modernity.” But the public appreciated the opera - the successful premiere of the opera was remembered by the composer’s contemporaries as “the last carefree theatrical triumph of Europe before the war.”

Subsequently, “Der Rosenkavalier” firmly took its place in the repertoire of various theaters. One can only regret that this charming work is little known to the Russian public: after the first production in Russia, staged in 1928 by director Sergei Ernestovich Radlov in Leningrad, a new production followed only in 2012 at the Bolshoi Theater.

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The original title is Der Rosenkavalier.

Opera in three acts by Richard Strauss to a libretto (in German) by Hugo von Hofmannsthal.

CHARACTERS:

PRINCESS OF WERDENBERG, Marshal (soprano)
BARON OX AUF LERCHENAU (bass)
OCTAVIAN, her lover (mezzo-soprano)
MR VON FANINAL, rich new nobleman (baritone)
SOPHIE, his daughter (soprano)
MARIANNA, her duenna (soprano)
WALZACCHI, Italian intriguer (tenor)
ANNINA, his accomplice (contralto) POLICE COMMISSIONER (bass)
MAJORDO MARSHALS (tenor)
MAJORDO FANINAL (tenor)
NOTARY (bass)
HOTEL KEEPER (tenor)
SINGER (tenor)
FLUTIST (silent role)
HAIRDRESSER (silent role)
SCIENTIST (silent role)
THE NOBLE WIDOW MAHOMET, page (silent role)
THREE NOBLE ORPHANS: soprano, mezzo-soprano, contralto
Milliner (soprano)
ANIMAL SELLER (tenor)

Time of action: mid-18th century.
Location: Vienna.
First performance: Dresden, January 26, 1911.

There is a funny story about Der Rosenkavalier and the author of this opera - a story that, as the Italians say, si non e vero, e ben trovato (Italian - if it is not true, it is well invented). The opera was staged in 1911. And a few years later, the composer himself - and this was for him for the first time - conducted its performance. In the last act, he leaned over to the violin accompanist and whispered in his ear (without interrupting the performance): “This is terribly long, isn’t it?” “But, maestro,” the accompanist objected, “you wrote it that way yourself.” “I know,” Strauss said sadly, “but I never imagined that I would have to conduct this myself.”

The complete, uncut version of the opera, not counting intermissions, lasts almost four hours. But the most striking thing is that the light comedic character is invariably preserved throughout the entire action of the opera. It is also surprising that, despite such a long performance, this opera became the most popular of all Richard Strauss's operas. It forms the basis of the repertoire of all the great opera houses in England, the United States of America and Central Europe (in Latin countries it received a somewhat less enthusiastic reception); and together with Wagner's Die Meistersinger it is considered the best comic opera born on German soil since Mozart. Like Die Meistersinger - there are such coincidences - it was initially conceived as a fairly short work, but the composer was so carried away by the idea of ​​​​creating a full-scale portrait of a certain phase in social history that, as the work progressed, he went into unusual detail. No one who loves this work will refuse any of these details.

ACT I

One of those “details” to which librettist Hugo von Hofmannsthal did not initially attach much importance turned out to be the main character of the work. This is Princess von Werdenberg, the wife of the field marshal, and therefore she is called Marshal. Strauss and Hofmannsthal conceived her as a very attractive young woman in her thirties (on stage, unfortunately, she is often performed by overripe sopranos). When the curtain rises, we see the princess's room. Early morning. In the absence of her husband, who has gone hunting, the hostess listens to the love confessions of her current young lover. This is an aristocrat named Octavian; he's only seventeen. The marshal is still in bed. Their farewell is full of pathos, since the princess realizes that the difference in their ages must inevitably put an end to their relationship.

The voice of Baron Ochs auf Lerchenau is heard. This is the princess's cousin, rather stupid and rude. No one was waiting for him, and before he bursts into the room, Octavian manages to put on a maid's dress. Since his part was written for a very light soprano (Hofmannsthal had in mind Geraldine Ferrar or Maria Garden), Ocs is misled: he takes Octavian for a maid and tries to court her throughout the entire scene. In essence, he came to ask his cousin (Marshal) to recommend him a noble aristocrat as a matchmaker (Knight (Cavalier) of the Rose) in order to fulfill the traditional custom, that is, to present a silver rose to his bride, who turns out to be Sophie, the daughter of the rich nouveau riche von Faninal. Ox also needs a notary, and his famous cousin invites him to wait, because her own notary, whom she called to her in the morning, is about to appear here, and then the cousin will be able to use him.

The Marshall's begins receiving visitors. Not only a notary comes, but also a hairdresser, a widow from a noble family with large offspring, a French milliner, a monkey dealer, the nosy Italians Valzacchi and Annina, an Italian tenor and many other strange characters - they all want something from the Marshal. The tenor shows off his mellifluous voice in a lovely Italian aria, which at its climax is interrupted by Baron Ochs' loud discussion with the notary about the dowry.

Finally, the Marshal is left alone again and in “Aria with a Mirror” (“Kann mich auch an ein Miidel erinnern” - “Can I remember the girl?”) she sadly reflects on what changes for the worse have occurred in her since then how she was a young blooming girl like Sophie von Faninal. The return of Octavian, this time dressed for riding, does not change her sad, nostalgic mood. He convinces her of his eternal devotion, but the Marshal knows better how all this will turn out (“Die Zeit, die ist ein sonderbar` Ding” - “Time, this strange thing”). She says that soon everything will have to end. And with these words he sends Octavian away. Perhaps she would see him later today, while riding in the park, or perhaps not. Octavian leaves. Suddenly she remembers: he didn’t even kiss her goodbye. But it’s too late: the door has already slammed behind him. She is very sad, but she is a smart woman.

ACT II

The second act takes us to von Faninal's house. He and his maid Marianne are delighted at the prospect of his daughter marrying an aristocrat, but his reputation may suffer. Today is the day when Octavian is expected to bring a silver rose on behalf of Baron Oxus. And soon after the action begins, a formal ceremony takes place. This is one of the most beautiful episodes of the opera. Octavian is dressed unusually magnificently, according to the circumstances - in a white and silver suit. In his hand is a silver rose. He and Sophie suddenly fall in love at first sight. Looking at the girl, the young count asks himself the question: how could he live without her before (“Mir ist die Ehre wiederfahren” - “This is an honor for me”). Soon the groom himself arrives - Baron Ochs with his retinue. His behavior is really very rude. He tries to hug and kiss his bride, but every time she manages to dodge him. This only amuses the old rake. He goes into another room to discuss the terms of the marriage contract with his future father-in-law. He is so self-confident that he even advises that Octavian should teach Sophie a thing or two about love while he is away. This training has not progressed much when they are suddenly interrupted by angry servants. It turns out that the baron’s people, who came with their master, tried to flirt with von Faninal’s maids, who did not like all this at all.

Octavian and Sophie have a very serious conversation, because they both know that the Baron intends to marry Sophie, which is completely impossible for her. Meanwhile, as both of them become more and more carried away by each other, completely losing their heads, Octavian promises to save Sophie. In a fit of emotion, they hug (“Mit ihren Augen voll Tranen” - “With eyes full of tears”). Two Italians who we met in passing in the first act - Valzacchi and Annina - suddenly appear from behind a decorative stove just at the moment when the lovers passionately embrace; they see it all. They loudly call on Baron Ochs, hoping that he will reward them for espionage (they, after all, entered his service). A very colorful and hectic scene follows. Sophie categorically refuses to marry Ox; Oks is amazed at this turn of events; Faninal and his housekeeper demand that Sophie marry, and Octavian becomes more and more angry. In the end, Octavian throws an insult at the baron, grabs his sword and rushes at him. The Baron, in a panic, calls his servants for help. He is slightly wounded in the arm, is terribly frightened by this and loudly demands a doctor to come to him. The doctor who appears states that the wound is trivial.

Finally the baron is left alone. First he thinks about death, then he seeks solace in wine and gradually forgets about all his misfortunes, especially when he discovers a note signed “Mariandle”. This, he thinks, is the servant girl whom he met in the first act in the Marshalsha's house; This note confirms the date of the meeting. "Mariandle" is none other than Octavian himself, who sent her to Oxus out of mischief. Meanwhile, the news that he has so definitely been assigned a date with a new girl encourages the baron. With this thought - not to mention the wine he has drunk - he hums a waltz. Some fragments of this famous waltz from Der Rosenkavalier had already slipped through during the action, but now, at the end of the second act, it sounds in all its splendor.

ACT III

Two of the baron's servants - Valzacchi and Annina - are making some mysterious preparations. The Baron did not pay them properly, and now they have gone into the service of Octavian, overseeing the preparations of the chambre separee (French - separate chambers) in a hotel somewhere on the outskirts of Vienna. The apartment has a bedroom. The Baron is supposed to come here on a date with Mariandl (that is, Octavian in disguise), and a terrible surprise is being prepared for him. There are two windows in the room, they suddenly swing open, strange heads appear in them, a rope ladder and a lot of all kinds of devilry, which is why the old man, according to the plans of his enemies, should completely lose his mind.

And finally the baron himself appears here. At first, everything seems to start out quite well. A Viennese waltz plays offstage, and Mariandl (Octavian) feigns excitement and shyness. Soon something strange begins to happen. The doors swing open, and - as planned - Annina bursts into the room in disguise with four children. She declares that the Baron is her husband, and the children address him by calling him "Dad". In complete confusion, the Baron calls the police, and Octavian, in disguise, quietly sends Valzacchi for Faninal. The police commissioner appears. The pathetic Baron does not make any impression on him, and besides, the Baron managed to lose his wig somewhere. Faninal arrives next; he is shocked by the behavior of his future son-in-law, who finds himself in the same room with a stranger. Sophie is also here; With her arrival, the scandal grows even more. The latter is the Marshal in all her dignity; she sternly reprimands her relative.

Finally, morally completely broken, and also under the threat of paying a huge bill for the party, Oks, happy to finally get rid of this whole nightmare, leaves (“Mit dieser Stund vorbei” - “There is no more point in staying”). The others follow him. This is where the denouement and climax of the opera comes.

In a wonderful terzetto, Marshalsha finally gives up her former lover, Octavian, and gives him - sadly, but with dignity and grace - to her young charming rival, Sophie ("Hab`mir`s gelobt" - "I swore to love him") . Then she leaves them alone, and the final love duet is interrupted only for a short moment when the Marshal brings Faninal back to say parting words to the young.

“This is a dream... it can hardly be true... but let it continue forever.” These are the last words that the young lovers utter, but the opera does not end there. As they move away, a little black page, Mohammed, runs in. He finds the handkerchief that Sophie dropped, picks it up and quickly disappears.

Henry W. Simon (translated by A. Maikapara)

Alexander Gusev
Let's start with the fact that the composer Richard Strauss, a German, has nothing to do with Johann Strauss, a Viennese with an admixture of Jewish blood. He was born in the 19th century, but his work dates back to the 20th century, of which he is one of the most famous composers. He wrote his first operas - "Salome" and "Electra" - in a clearly expressive manner: a huge orchestra is Wagner's legacy. Both operas managed to come to the Russian stage before 1914. You can read more about this in the memoirs of the director of the Imperial Theaters, Telyakovsky. Then some changes occurred in Strauss's work, and as a result the opera appeared Rosenkavalier, which can be translated in different ways. The generally accepted translation is "Der Rosenkavalier". Actually, it’s more correct to say “Cavalier with a Rose.” But this is not entirely harmonious and causes a stream of allusions and jokes. Recently, “Der Rosenkavalier” has become more popular.

According to the plot, its hero is a young man, the groom's messenger, who must appear to the named bride and present a symbolic silver rose. The idea for this work was born from the Austrian poet Hofmannsthal, who was fascinated by the idea of ​​stylization of the 18th century. He also interested Strauss in his idea, who, however, did not follow him musically. He did not turn to the music of the 18th century; on the contrary, he filled the opera with music from the late 19th century - namely the waltz.

The opera immediately received great recognition. Telyakovsky wanted to stage it, but did not have time: in 1914, an imperial decree was issued banning all works by German authors on the Russian stage. And then this aesthetic story, of course, was not at all suitable for the Soviet audience. Although no one has ever denied that the music is lovely.

It must be said that, despite the fact that Richard Strauss was far from social and political life, in the late 30s he became something of a minister of culture in Hitler’s government. Which greatly influenced the performance of his music in subsequent years. In particular, in the USSR and Israel.

True, there is an opinion that Strauss used his post to help Jewish musicians. He had a clash with the Nazi ideological apparatus regarding his comrade-in-arms, writer Stefan Zweig. And some of his works, written already in the 30s, did not have a very happy life. So the figure is ambiguous.

There is an interesting sketch by an American musicologist who entered Germany along with units of the American army. Coincidentally, its part was part of the town where, as it was known, the elderly Richard Strauss lived with his family. The American musicologist contrived, met with the composer and tried to interview him - precisely with the aim of confirming Strauss's apoliticality. Or even see anti-Nazi sentiments in him. In particular, he asked the question whether the idea of ​​emigrating from Nazi Germany had ever occurred to the composer. The answer was: “Yes, you know, lately we have begun to think about it. The food supply has become rather bad.”

If we talk about music, Richard Strauss was one of those people who are engaged in what is called pure art. As it was written in Soviet textbooks, he was far from the people, but created for the layer of wealthy people that existed then and still exists in Europe, whose wealth and lifestyle allow them to enjoy art and be away from pressing problems.

In our country, Der Rosenkavalier was completely unknown until the Vienna State Opera came to Moscow in 1971 and presented its outstanding performance three times. Oddly enough, he is still performing on her stage. There was a wonderful cast, great artists, Leonia Rizanek as Marshal, Christa Ludwig as Octavian! The first discovery occurred. Then people started traveling and listening to CDs. And now a certain number, of course, know about the existence of this opera.

In a sense, “Der Rosenkavalier” appeals to Mozart’s “The Marriage of Figaro,” also a landmark work for Viennese and world culture. In some characters you can recognize Mozart's predecessors. In Marshalls - Countess. And even more so in Octavian - Cherubino. But if Cherubino is a boy tormented by a common love for all women, then Octavian, who is almost the same age, is already a young man who has tasted the delights of love. And here is another, more sensual shade.

Although domestic directors did not stage this opera, they thought and discussed it. And many were very put off by the first scene, in which two women are in bed. One of them is a travesty in the role of a young man. And 30 years ago, especially 40 years ago, very often these characters were played by fairly large prima donnas. And indeed, for a person who is not part of this aesthetic world, watching two middle-aged, large women performing a love duet on a wide bed did not make the best impression.

Although in fact the Marshall is about 35 years old, Octavian is 16-17. And now these roles are played, of course, by artists more suitable in age and physical characteristics. And in life we ​​now encounter much more dramatic age differences.

Unlike Russia, in the world “Der Rosenkavalier” is one of the most popular operas; in the work of Richard Strauss it is, of course, the most popular and the most Viennese. For the Viennese public, not only this opera, but also this performance is a cult thing. This production is also running in Vienna this season, with Elina Garanča performing in the role of Octavian.

The opera is permeated with lyricism and humor. Despite the fact that this is a large work, it is very easy - for those whose native language is German. I know Russian listeners who experience approximately the same thing when they listen to Rimsky-Korsakov’s operas. But they hardly come now. And there are very few such people. And there are many of them in Vienna.

Firstly, this is a very cultured audience; it is impossible to imagine that telephones would be turned on in the hall - not only that calls are impossible, but also the light from the telephones. People understand that it also interferes with perception. And if some tourists from eastern countries try to do this, then the attendant immediately appears and unobtrusively explains that this is not necessary.

Secondly, this is an audience that already knows the work and goes specifically to see it, maybe even to see exactly this production and exactly these singers. And they do not discover this opera for themselves, but come to get more or less pleasure from it, which is well known to them.

The basis of this audience is made up of moderately wealthy, middle-aged people who can afford a ticket for 60-70 euros. Although Vienna also has a large number of standing places. There are not so wealthy opera fans, young people and student tourists. There are performances with the participation of certain soloists, when these standing places are not crowded.

My personal opinion is that there is currently no audience for this work in our country. Because we don’t have a middle class and in general there is a serious problem with opera audiences - especially at the Bolshoi Theater. Maybe this opera should have been staged here a little earlier or a little later.

Comic opera in 3 acts. The libretto was written by G. Hofmannsthal.
The first performance took place on January 26, 1911 in Dresden.

Characters:
Field Marshal, Countess of Werdenberg, soprano
Baron Ochs von Lerchenau, bass
Octavian, young aristocrat, mezzo-soprano
Mr. Faninal, baritone
Sophie, his daughter, soprano
Marianna, duena, soprano
Valsacci, intriguer, tenor
Anina, his accomplice, mezzo-soprano
Police Commissioner, bass
Faninal's majordomo, tenor
Notary, bass
Innkeeper, tenor
Singer, tenor
Lackeys, musicians, guests, waiters

First action. The aging Field Marshal spent the night with the young Count Octavian. The lovers' breakfast is disturbed by noise coming from a distance. The Field Marshal is alarmed - has her husband, the Field Marshal, unexpectedly returned home from hunting? While the footmen prevent an early visitor from entering the bedroom, Octavian hides in an alcove. Soon he returns dressed in a woman's dress. The enterprising Field Marshal decided to marry the young man to her new maid Marianne. The doors swing open with a roar and, pushing away all the lackeys, the Field Marshal's cousin, Baron Ochs von Lerchenau, bursts into the bedroom. He came to Vienna from his estate to get married. An uncouth rude and ignorant, narcissistic Ox is convinced of his irresistibility. He belongs to one of the most noble noble families, and therefore believes that marriage with him is the greatest honor for any girl. This opinion is fully shared by the baron’s future father-in-law, Faninal. A wealthy bourgeois who has only recently received nobility, he will happily marry his young daughter Sophie to Ochs von Lerchenau. In order to become related to him and the all-powerful Field Marshal, Faninal promises a rich dowry for his daughter, and this most of all attracts the baron, whose financial affairs are far from brilliant. Ox asks his cousin to help him get married. Let her find a matchmaker - a noble Viennese nobleman from her circle. He will go to the bride and, as custom requires, present her with silver roses. Concerns about his upcoming marriage do not prevent Ox from starting to court his cousin's maid. Accustomed in the village to victories over the cowgirls and poultry girls under his control, he wastes no time in inviting the pretty Marianna to go into the service of his future wife and is quite surprised to hear the refusal of such a tempting offer.

The Field Marshal's morning toilet begins. Numerous residents, petitioners, a milliner, and a hairdresser come to greet the lady. While he is combing the Field Marshal's hair, the Italian singer delights her ears with a euphonious aria. Meanwhile, the baron is discussing the details of the marriage contract with the summoned notary.

Finally, the Field Marshal's toilet is over. Count Octavian appears. The field marshal decided to send him to Fannnal's house as the groom's messenger - the "Rose Cavalier". The Baron happily agrees, he does not even suspect that he has just lavished favors on his matchmaker, disguised as a maid.

The bedroom is empty. Octavian and the Field Marshal are left alone. He wants to rush into the arms of his beloved, but she gently pushes him away. An astute woman understands that she, whose youth is gone, cannot keep the ardent young man. He will meet a young girl and quickly forget his aging lover.

Second action. Faninal's house is eagerly awaiting the arrival of the groom. Young Sophie is also joyfully excited. She has no idea who she is predicted to be her husband. Octavian appears with silver roses. Sophie is delighted with him. The stupid and impudent Ochs von Lerchenau arouses in her even more disgust. Taking advantage of the fact that the groom has retired to another room to finally agree on the dowry, the young people confess their love to each other. Their explanation is overheard by the baron's spies - the intriguer Valsacci and his accomplice Anina. They rush to tell Kos about everything. Enraged, the baron runs into the room. His anger turns to rage when he hears that Sophie refuses to sign the marriage contract. The Baron wants to force her to do this, but Octavian comes to the girl’s defense. Having challenged the baron to a duel, he easily wounds him in the arm. A trifling scratch is enough for Ox von Lerchenau to alarm the whole house with his loud moans and heart-rending screams. With great difficulty, Faninal manages to calm his future son-in-law - the girl’s stubbornness will be broken: she will marry a baron or go to a monastery. A bottle of good old wine finally puts the baron in a good mood. It becomes great when Ox finds out from the note he received that the maid Marianne he likes asks him to come to her on a date tomorrow evening. The vain baron noisily rejoices at his new victory. Stupid and does not suspect that a trap has been laid for him.

Third action. With a generous reward, Octavian lured the intriguers to his side and, with their help, lured the baron into a separate room of a third-rate tavern. Once again dressed as a maid, the young count hastily completes all the preparations necessary to meet Ox. Having dressed specially hired people in fantastic costumes, Octavian hides his accomplices behind windows, furniture, and in dark corners. Ox von Jlepxenau appears. He is quite satisfied with the twilight reigning in the room, without wasting any time, the baron decisively begins to court Marianne. But as soon as he approached her, fantastic figures jump out from everywhere and, desperately waving their arms, pounce on the unlucky gentleman. The cowardly baron was seriously intimidated. In fear of ghosts, he rushes around the room. Suddenly a woman jumps through the window, posing as Ox's abandoned wife - this is Anina in disguise. With loud sobs, she rushes to Kos and begs him to return to the bosom of his family. The owner of the tavern and the waiters come running at the noise. In desperation, the baron calls the police and thereby complicates the situation even more. The police commissioner who appears must arrest Ochs - he sometimes met with a stranger in a separate room of the tavern at night: according to the law, this is punishable by prison. The Baron resorts to cunning. Marianne is not a stranger, but his fiancée. But just at this time, Faninal and Sophie, summoned by Octavian, appear. The scandal is growing every minute, taking on ever more threatening dimensions for the baron. The arrival of the Field Marshal, whom the baron's lackey managed to run after, helps Ochs von Lerchenau to the rescue. On her orders, the police leave. The field marshal administers a quick judgment: the baron must abandon his bride, and Octavian, what can he do, let him marry his beloved Sophie.