Accessibility links

|

Sign In
Basket
Basket
  • Home
  • News
  • Opera Essentials: Die Frau ohne Schatten

Opera Essentials: Die Frau ohne Schatten

A quick guide to Richard Strauss and Hugo von Hofmannsthal's mystical masterpiece.

By Kate Hopkins (Opera and Music Publications Officer)

12 February 2014 at 12.16pm | 2 Comments

The Story Begins…

The Emperor has married a woman from the spirit world, who, as a supernatural being, casts no shadow. After a year, the Empress is told that if she cannot obtain a shadow within three days she will be forced to return to the spirit world and her husband will turn to stone. To what extremes will she go to acquire a mortal shadow?

Strauss’s Fairytale Opera

Strauss and Hofmannsthal began work on Die Frau ohne Schatten in 1911. They intended it to be their answer to Mozart’s Die Zauberflöte; a fairytale with a strong moral and spiritual dimension. Hofmannsthal became so excited by the subject that he wrote a full prose narrative to accompany the opera. The story was largely Hofmannsthal’s invention, though he drew on a wide range of material to inspire him, including passages from the Arabian Nights, Grimms’ fairytales, other German fairytales and Goethe’s Faust.

Troubling Emotions

Claus Guth’s psychological production, originally shown at La Scala, Milan, brings out the darker aspects of Hofmannsthal’s fable, asking questions about female independence and repression. It movingly depicting the plight of the Empress trapped between two repressive worlds.

A Singers’ Showpiece

The five principal roles in Die Frau ohne Schatten are among the most challenging in all of Strauss’s operas. All have exquisite music, including two mighty monologues for the Emperor, several dramatic dialogues and a tender, yearning duet in Act III for Barak and his Wife. Another highlight is an impassioned solo scene for the Empress in Act III, as she struggles to maintain her integrity rather than steal a mortal woman’s shadow.

A Richly-Coloured Score

Strauss employs a massive orchestra for Die Frau ohne Schatten – including divided violas and cellos, quadruple winds, extensive percussion and an organ, thunder machine, wind machine and glass harmonica. However, there are also passages of extremely delicate scoring that depict the characters’ more tender emotions. Particularly striking passages include the singing of the Nightwatchmen at the end of Act I and the final, joyous ensemble of Act III.

Die Frau ohne Schatten runs from 14 March–2 April 2014. Tickets are still available.

The production is staged with generous philanthropic support from Sir Simon and Lady Robertson, Hamish and Sophie Forsyth, The Friends of Covent Garden and an anonymous donor.

This article has 2 comments

  1. Hello Kate, many thanks for this article. It is great. It prepares me for this wonderful piece I will see on 14 March and also it is good length and good wording for the web - plain English and not too long. Keep up the good work - I love the ROH!

  2. Haruna Nagai responded on 9 March 2014 at 7:50pm Reply

    I will bring my mother to this opera!

Comment on this article

Your email will not be published

Website URL is optional