Imagine yourself in the great world of Vienna at the time when Maria Theresa had just ascended the throne as Empress: a world of elegant gallantry. The opera begins in the bedchamber of the Marschallin’s Vienna residence, a large salon communicating with others in the private apartments of the Princess von Werdenberg, a most impressive and convincing figure of a grande dame.
The Marschallin reclines on a sofa, half-embraced by her ardent young lover, Octavian. He, as always, professes his undying love for her, his youth leading him to believe that she is the love of his life and that their time together will never end.
Their bliss is interrupted by a commotion outside, and the Marschallin fears that it is her husband, the Feldmarschall, returning from his hunting trip. In a panic, Octavian hides and reappears dressed as a lady’s maid, only to hear that the caller is not the lady’s husband, but her boorish cousin, Baron Ochs von Lerchenau. The Baron has come to visit the Marschallin to ask for her assistance in the matter of his forthcoming arranged marriage to the young Sophie von Faninal. His roving eye notices the young “serving maid” in the Marshallin’s attendance, and he tries desperately to deduce the youngster, inviting “her” to sup with him later at a nearby inn. The Marschallin jokingly suggests enlisting the help of her young cousin, Count Octavian Rofrano, to present the traditional rose to the young bride on the Baron’s behalf. She finds Octavian’s disconcerted attitude at this suggestion somewhat amusing. The Baron is delighted and remarks how like the young serving maid is the young man’s picture! Wilst ushering in the Marshallin’s cooks and lawyers, Octavian manages to escape the clutches of Baron Ochs who also leaves during the ensuing chaos.
Finally alone, Maria Theresa cannot help but think back to the time in her own life when she had the hopes and expectations that the young Sophie von Faninal is undoubtedly feeling at the prospect of meeting her fiancé. She wonders how it could have been that the once young, carefree Maria Theresa is now entering middle-age.
At last, able to indulge in a moment of solitude, the Princess cannot help but reflect back on the time in her life when her own hopes and expectations matched those that the young Sophie von Faninal must undoubtedly feel, at the prospect of meeting her finance. She wonders how it could have come to pass that the once young and carefree Maria Theresa is now entering middle-age.
Octavian returns, having eluded the Baron and changing back into his own clothing. He finds the Marschallin somewhat pensive as she has been reflecting on the passing of time and her own yourth. She tells Octavian that today or tomorrow, as much as he may not believe it, her attraction for him will be eclipsed by another. He fervently denies this, but she insists that it will happen. She tells him to leave her in peace for a while; hurt by her coolness, he leaves. Realizing what she has done, the Marschallin tries to call him back, but he has fled at full speed without kissing her. She sends instructions after him that he should, as promised, present the silver rose to the young Sophie von Faninal.
ACT TWO
There is great excitement at the Faninal home where the family is preparing to receive their distinguished guest , and future son-in-law, the Baron Ochs. Octavian arrives as the somewhat reluctant ambassador and presents the traditional silver rose to Sophie. Their mutual attraction is instantaneous. She is captivated by the handsome young man whom she has read about in the “sho’s who” of Austrian society; he is equally captivated by her charm and vivacity. When the Baron finally arrives neither Sophie nor Octavian are overjoyed at the prospect of Sophie becoming this boor’s wife. Ochs proceeds to act in his lecherous manner. Only the girl’s father–who is bent on improving his family’s station in society through such a marriage–and Sophie’s chaperone, Marianne, are oblivious to the Baron’s gaucheness.
Having been left alonge together for a brief moment, Sophie admits to Octavian that she wants nothing to do with the Baron and pleads for him to help her. The smitten Octavian responds to the lady’s plea by instigating a quarrell with the Baron, wounding him in the hand. This, in turn, infuriates the socially ambitious Faninal.
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Sophie and Octavian (by this time in love) now outwardly oppose the marriage. Now, firmly on the side of Ochs, Faninal insists that his daughter either marry the nobleman of her own accord, or be forced to do so. The Baron departs when a note (reminding him of the rendezvous with his cousin’s “ladies’ maid”) is handed to him. Octavian must also leave in order to put his plan into action. Faninal swears that Sophie will marry the Baron or take the veil. Octavian leaves to put his plan into action.
ACT THREE
Disguised, once again, as the Marschallin’s serving maid, ‘Mariandl’, Octavian meets Ochs at the local tavern. There, faces appearing at windows cause Baron Ochs to feel that he is losing his mind! At this point in the action, one must imagine the utter mayhem that would unfold in a fully staged production: widows claim him as their husband, children rush in at him screaming “Papa, Papa!,” and eventually the police arrive to arrest the Baron on charges of leading young girls astray!. Faninal is outraged to find his prospective son-in-law involved in such a situation, and Sophie publicly renounces the lascivious Ochs. The crowing glory comes as the Marschallin arrives to complete the plan, thoroughly chastising the Baron as he begins to realize the import of her relationship with Octavian (who now removes his disguise to reveal his true identity).
The opera closes with the Marschallin dismissing the Baron, placating Faninal and allowing her former love, Octavian, to be alone with Sophie. The final trio and duet constitute perhaps some of the most expressive writing in all opera. Despite the opera’s essentially happy ending, we are nevertheless struck by the Marschallin’s melancholy–as she observes the fulfillment of her prophesy–in the final phrases:
Faninal: “That’s how they are–youth will be young!”
Marschallin: “Yes, yes.”
And, so, one cannot help but wonder if they are not perhaps among the saddest ever written.
End of the Opera
