Sunday marked the opening of L.A. Opera’s Der Rosenkavalier, which, following Saturday’s opening of Falstaff, completed a marathon weekend of well over 7 hours of opera. This new production is the latest in L.A. Opera’s Hollywood-influenced approach, this time featuring direction by screen legend Maximilian Schell. And in this case the influence is especially obvious as Schell sets the stage with actual projections from the 1925 film version of Der Rosenkavalier, directed by Robert Wiene of The Cabinet of Dr. Caligari fame. Though that might imply a hint of German expressionism, this production is pretty much all over the map stylistically, but is nonetheless fascinating in its design and musical talent. More on that next hour.

Along with direction by cinema great Maximilian Schell, this original go at Richard Strauss’ opera of the young rose-bearer was designed by Viennese visual virtuoso Gottfried Helnwein. The team has created a surrealist environment undefined by any specific time or place. Visually, characters range from over the top froo-froo to contemporary, with nightmarish interpretations of Venetian masqueraders and creeping minions of the lecherous Lerchenau in between. Each act is bathed in its own primary color suited to the general feeling as if you’re watching through a giant mood ring. Vocal standouts include soprano Elizabeth Futral as the lovely Sophie and bass Kurt Rydl as Baron Ochs. Der Rosenkavalier is currently running in rep at the Chandler with Falstaff, marking two comic operas that cross paths in themes of infidelity, vanity, lechery and comeuppance by way of haunting pranks. Next hour, some words from outbound maestro Kent Nagano about the disarray in his future home of Montreal.