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</html>";s:4:"text";s:11877:"Die Geburt der Oper „Capriccio“ von Richard Strauss und Clemens Krauss. However, at Hamburg in 1957, Rudolf Hartmann [de], who had directed the opera at its premiere in Munich, inserted an interval at the point when the Countess orders chocolate, and other directors have often followed suit, including performances at Glyndebourne Festival Opera. This leaves the dramatic situation at the opening of the opera unresolved though perhaps better understood by the conclusion. Complete Score (CA) In a scene of much humour, Monsieur Taupe explains that it is actually he who is the most important person in the theatre – without him, there would be no entertainment. The Count declares that "opera is an absurd thing". The Major-Domo announces that "Dinner is served" and the Countess slowly leaves the room. Capriccio is full of other allusions to previous Strauss operas (for instance, the leading lady contemplating her reflection in a mirror, as in Rosenkavalier). Krauss based the libretto on work Strauss had earlier  undertaken with Joseph Gregor and, even earlier, with Stefan Zweig. Strauss takes up in this work ideas he had already begun to explore in the prologue to the revised version of Ariadne auf Naxos (1916), which opens with the character of the composer worrying about the reception to his art. The composer in 1922 (Photographer Schmutzer). 	0.0/10 He challenges Flamand and Olivier to create new masterworks that will reveal real people in all their complexity. As for an ending, she sings, is there one that isn't trivial? When I’m in the mood for stimulation I turn to theater, when I’m in need of comfort I tend towards music. Listen to the tender string sextet that opens "Capriccio" or the moonlit horn solo that introduces the final scene -- and you might be tempted to wonder. In a witty touch, the next scene consists of the servants commenting, as they clean up the room after the guests have all left, on how absurd it would be to portray servants in an opera. IRS 12 Movements/Sections Mov'ts/Sec's: 1 act Year/Date of Composition Y/D of Comp. Strauss apparently was a self-centered man, and he avoided confrontation with Naziism to concentrate on his own craft. They deride their employers for 'playing' at the theatre and discuss who the Countess might be in love with. Dargestellt anhand der vollständigen Textentwürfe und Kompositionsskizzen. Olivier tells the Countess that he means the sonnet for her. Olivier feels that Flamand has ruined his poem, while the Countess marvels at the magic synthesis of words and music. © 2020 Advance Local Media LLC. Words appeal to my mind, music to my soul. The Count, Countess, Flamand, Olivier, Clairon and La Roche reflect on the respective merits of dance, music and poetry. The superb performers of this production, in the orchestra pit and on the stage, delivered this mixture with skill, wit and enthusiasm. Capriccio, by Richard Strauss. While the two men tout their creative importance, they simultaneously try to impress Madeleine in a romantic way. Still undecided about her affections, she sings of the inseparability of words and music as she gazes into the mirror. Registration on or use of this site constitutes acceptance of our    User Agreement,  Privacy Policy and Cookie Statement,  and Your California Privacy Rights  (each updated 1/1/20). Sometimes I have to make a selection on a given day whether to attend a play or a concert. Flamand then sets the sonnet to music, while Olivier declares his love for the Countess. 1940-41 First Perf ormance. They engage in a rather furious argument which is semi-spoken rather than sung in definable arias. -  	 Capriccio, Op. Chas Rader-Shieber directed so that every gesture and expression seemed natural. The debate is the reason Richard Strauss' "Capriccio" exists. The actors and La Roche return from their rehearsal and the Count declares that he is bewitched by Clairon. Community Rules  apply to all content you upload or otherwise submit to this site. This was a sexually-charged interpretation, and the grabbing and kissing worked wonderfully. 	2 	0.0/10 The role of the Countess has been a specialty of sopranos with the ability to catapult and caress Strauss' music. Address to editor@theculturalcritic.com, Read other reviews on The Cultural Critic. 85, is the final opera by German composer Richard Strauss, subtitled "A Conversation Piece for Music".The opera received its premiere performance at the Nationaltheater München on 28 October 1942. Tanz und Musik stehn im Bann des Rhythmus, Addio ma vita, addio non piangere il mio, Duet. Nymphenburger, München 1988, ISBN 3-485-00568-1 ", Ein Konversationsstück für Musik (A Conversation Piece for Music). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Advance Local. She is in love with two men but doesn’t know which is her preference. The opera is a light-hearted treatment of a serious subject: the relative importance of music, poetry, dance and theatre, cleverly set as an opera within an opera. La Roche looked delicious with his streaked hair colors, turtle neck shirt and a topcoat draped from his shoulders. As her guests disperse, Countess commissions Olivier and Flamand to collaborate and write something based on the discussions of that afternoon. 	4 They leave to join La Roche at the rehearsal. *#479731 - 19.28MB, 16 pp. Opera Philadelphia/Curtis Institute of Music, 2016. Olivier has written a new play for the Countess's birthday the next day, which will be directed by La Roche, with the Count and the famous actress Clairon performing. Composer Hans Werner Henze wrote that Strauss “lacks all moral force…He was a fraud as a genius.”. A major-domo announces “Dinner is served” and the opera ends, with no decision made. The Major-Domo listens patiently and then arranges for food and his transport home. Everyone in this production was in their twenties, and the countess was played by the 25-year-old Kirsten MacKinnon. Sie ist reizend, bezaubernd! In exploring the nature of opera in Capriccio, Strauss relied more upon intimate gestures than upon the splashy grandeur of works like Salome (1904-1905) or Elektra (1906-1908); the result bears the stamp of a composer of great facility in full command of his style. Capriccio (1942), the last opera Strauss completed, in some ways represents the culmination of the composer's work in this genre. His comments are sarcastically funny: “The malady of opera is the deafening din of the orchestra. That’s the question debated by Richard Strauss in the final opera of his long life. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. Title Ein Konversationsstück für Musik (A Conversation Piece for Music) Composer Strauss, Richard: Opus/Catalogue Number Op./Cat. Synopsis and libretto in English from Pacific Opera, Victoria, B.C. -  85, is the final opera by German composer Richard Strauss, subtitled "A Conversation Piece for Music". Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Welch kostliche Begegnung! The debate is the reason Richard Strauss' "Capriccio" exists. Robert Perdziola’s set placed a stylish Art Deco château amidst the rubble of wartime bombing raids, and his costumes were in shades of beige and white. There isn’t enough time, so he orders his entertainers to perform both simultaneously. Op.85 ; TrV 279 I-Catalogue Number I-Cat. Critics of that time concluded that the quality of Strauss’s work nose-dived after Rosenkavalier (1911) and everything he wrote in his later years was retrograde rehash. No. Strauss wrote this piece for a large orchestra but it’s kept soft and transparent through every part of this opera except La Roche’s narrative. Richard Strauss’s Capriccio premiered in October 1942, at Bavarian State Opera in wartime Munich, authorised by Joseph Goebbel’s ministry. Please support high-quality local journalism. The Count and Clairon depart for Paris with the theatre company. The Major-Domo reminds her that both Olivier and Flamand will meet her in the library in the morning to learn the ending of the opera. In the Countess’s salon the poet Olivier and the composer Flamand argue back and forth. Zweig had begun to plan an opera based on Giambattista Casti's eighteenth century text Prima la musica, poi la parole (First the Music, Then the Words), the basis for Antonio Salieri's 1786 opera of the same title. This, in combination with the work's conversational tone and emphasis on text, has prevented the opera from achieving great popularity. This is reminiscent of Strauss’s Ariadne auf Naxos, where a rich party-giver intends to present for his guests a serious drama and a comedy performed by a commedia dell’arte group. Email Signup. Ballerina Emily Davis was a party guest as were Roy Hage and Ashley Milanese as caricatures of Italian singers. Most of the final libretto is by Krauss.[1]. 	6 	 It is often viewed as a particularly fitting valedictory  to Strauss' work in opera and in fact includes both  quotations from operas by other composers (including Gluck's Iphigénie en Aulide) and humorous references to Strauss' own Ariadne and Daphne (1936-1937). Of all the performances I’ve seen of Capriccio, this was the most compelling. Clairon arrives, and she and the Count read a scene from Olivier's play, which culminates in a love sonnet. It’s heartening to witness how the old man could still be aware of, and write about,  sexual desire. The 59 Curtis Institute musicians played Strauss’s subtle score with delicacy and color, led by Timothy Myers. At age 78, in the midst of World War II, Richard Strauss created Capriccio, a story about a woman, the Countess Madeleine, who is pursued by two men. Flamand sings them his new composition, accompanying himself on the harpsichord. Critics of that time concluded that the quality of Strauss’s work nose-dived after Rosenkavalier (1911) and everything he wrote in his later years was retrograde rehash. In Capriccio, however, the matter receives attention as the composer and the poet explore their work and are challenged to compose an opera about that very discussion; in some ways the opera is a metaphor for operatic composition, a topic with obvious resonance and significance for Strauss. Clemens Krauss and Richard Strauss Premiere. By the time the curtain falls on Strauss' "conversation piece," as he called it, the Countess has left to the audience's imagination the question as to whether Flamand or Olivier -- and therefore, metaphorically, music or words -- is triumphant. Instead, they toy with the topic through the relationship between Countess Madeleine and two suitors, the composer Flamand and the poet Olivier. One is a poet, the other a composer. Those of us who love music and theater perpetually face such a choice. Then again, given the crucial melding of artistic elements that is opera, it's futile to attempt an answer. Capriccio Conversation piece for music in one act Libretto. Capriccio was not well-received by the world in 1942. Subscribe to cleveland.com. *#24954 - 15.25MB, 379 pp. However, the genesis of the libretto came from Stefan Zweig in the 1930s, and Joseph Gregor further developed the idea several years later. Capriccio was not well-received by the world in 1942. Capriccio Alt ernative. 	10 	 The singers are driven to screaming, so no one can hear the text, good or bad, anyway.”. Hvdhombe (2017/6/30), Content is available under the Creative Commons Attribution-ShareAlike 4.0 License Capriccio is sometimes described as a "conversation piece," since the plot revolves around a discussion of the nature of opera and the shifting primacy between text and music. ";s:7:"keyword";s:17:"capriccio strauss";s:5:"links";s:6094:"<a href='https://crosscurrentcommunications.net/docs/b14002-100-watt-led-bulb-5000k'>100 Watt Led Bulb 5000k</a>,
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