Capriccio (opera)
| Capriccio | |
|---|---|
| Opera by Richard Strauss | |
The composer in 1922 (Photographer Schmutzer)
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| Librettist | Clemens Krauss |
| Language | German |
| Premiere | 28 October 1942 Nationaltheater München |
Capriccio, Op. 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. Clemens Krauss and Strauss wrote the German libretto. However, the genesis of the libretto came from Stefan Zweig in the 1930s, and Joseph Gregor further developed the idea several years later. Strauss then took on the libretto, but finally recruited Krauss as his collaborator on the opera. Most of the final libretto is by Krauss.
The opera originally consisted of a single act lasting close to two and a half hours. This, in combination with the work's conversational tone and emphasis on text, has prevented the opera from achieving great popularity. However, at Hamburg in 1957, Rudolf Hartmann, 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. The final scene for Countess Madeleine can often be heard as an excerpt. Capriccio received its American professional premiere at The Santa Fe Opera in 1958 after the Juilliard School staged it in 1954 with Gloria Davy and Thomas Stewart as the aristocratic siblings.
The theme of the opera can be summarized as "Which is the greater art, poetry or music?" This question is dramatized in the story of a Countess torn between two suitors: Olivier, a poet, and Flamand, a composer.
At the Countess Madeleine's château, a rehearsal of Flamand's newly composed sextet is in progress. (This sextet is in reality a very fine composition for string sextet and is played in concert form as a piece of chamber music, independent of the opera). Olivier and Flamand debate the relative powers of words and music. They engage in a rather furious argument which is semi-spoken rather than sung in definable arias. The theatre director La Roche wakes from a nap, and reminds them both that impresarios and actors are necessary to bring their work to life. 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. La Roche, Olivier and Flamand proceed to a rehearsal.
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