《玫瑰骑士》创作于1910年，1911年1月26日首演在德累斯顿国家歌剧院。骑士组曲创作的时间是1944年。在《莎乐美》公演后，R.施特劳斯就写道：我要写一部莫扎特式的歌剧。这部歌剧就是《艾莱克特拉》，可惜和莫扎特歌剧几乎不搭边。实话说，我没有CD，也没有听过这部歌剧。戏剧家雨果·冯·霍夫曼史塔尔（Hugo von Hoffmannsthal）和首次他合作的这部<艾>剧遭到了不少攻击，据说音乐给人以光怪陆离、奇异可怖的感官刺激。于是这俩人又合作第二次，也就是〈玫瑰骑士〉。曲调借鉴了德国南部民歌和舞曲的旋律，剧中的咏叹调和重唱都较动听，富有人情味和幽默感，这是一部回归传统的歌剧，它也是理查·施特劳斯歌剧作品中的保留剧目是演出场次最多的一部歌剧。十年前，我收集了一个小克莱巴指挥的版本，虽然许多评论说卡老的演绎最佳。
很久不译东西了，还是原文看来更顺溜，这就是简介：
The opera was a huge hit, and unscrupulous publishers began to extract and sell arrangements of its music almost as soon as it hit the stage. Strauss himself extracted a series of waltzes from the opera, and finally orchestrated a suite from Der Rosenkavalier in 1944—probably with the assistance of Arthur Rodzinski of the New York Philharmonic. The Suite begins with the opera’s orchestral introduction—the big love-scene between the Marschallin and Octavian—and continues with the music for the entrance of Octavian as the Rosenkavalier, and an arrangement of the love-duet between Octavian and Sophie. After a brief moment of bluster when the Baron realizes that his Rosenkavalier and his fianc³ are have fallen in love, there are a series of waltzes associated with Ochs. The fourth movement adapts the climactic Act III trio sung as the Marschallin sadly looses her hold on Octavian, and Octavian and Sophie sing a love duet. The Suite closes with more waltz music for the lecherous Baron and a newly-composed coda.
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