We end our term with the final opera from Richard Strauss. Oddly, it demands an answer to a question you’d not expect him to ask: "Which is the greater art, poetry or music?" It’s framed in an equally odd story of a Countess rather self-indulgently torn between two suitors: Olivier, a poet, and Flamand, a composer. A rather more interesting second issue is how drama can be brought ‘down’ to tell the stories not of classical heroes but of (presumably aristocratic) ‘people like us’.
From Opera Online:
The libretto is closely inspired by “First Music and Then Words” composed by Salieri. It took up the quarrel waged in the 18th century by fans of the Italian composer Puccini, who advocated that words should reign supreme in opera, against the defenders of Gluck, for whom the music was pre-eminent. Out of this dry subject matter, Strauss created a magnificent work, crammed with musical and literary references, full of charm and intelligence, great lyricism and a startling vivacity. Elegance and virtuosity, humour and sensitivity are scattered throughout the text and score of this masterpiece; Strauss put a great deal of himself and his own philosophical ponderings into it. In this case, it is impossible to choose between the respective merits of words and melody.
The librettist matters
A very different opera from the earlier dramas, Capriccio is, like them, a stage for a soprano, though this time framed as a conversation rather than a story, and using spoken words. No classical tragedy here, or complex reflection on society. Hofmannsthal had died before the premiere of Arabella. Strauss’s later operas had librettos by younger generation poets, Stefan Zweig and Joseph Gregor whose influence was felt in the creation of Capriccio (1942), had a libretto technically by Clemens Krauss.
It's less of a plot than a conversation. Summary here.
Spoiler Alert!
It’s an inconclusive ending to a term exploring an amazing range of operas by a surprising composer. It’s the Count who comments that ‘Opera is an absurd thing’. The Countess ends her lovely final sung-think-piece reflecting on her failure to answer the opening question or choose a suitor or indeed come up with an ending for the opera being created, with the classic question, ‘Is there any ending that isn't trivial?’
What to make of this ‘curious masterpiece’? Tim Page in Washington Post sees it as the answer to the claim that Strauss’ work declined with age.
Strauss was, the textbooks insisted, a path-breaking genius until he was about 45, when he retreated into a bizarre and reactionary classicism (hold the "neo," please) and churned out accomplished, oversweet bonbons until he died. This ridiculous simplification is now discredited. As Strauss's later compositions are heard more and more, it turns out that Gould was pretty close to the truth.…
In our century, novelty and innovation have often been ranked over form and craftsmanship. Strauss proved it possible to employ conventional musical syntax in a decidedly unconventional manner, and to do so with fresh and extraordinary reserves of feeling. "Capriccio" is rich, ripe, haunting and beautifully made, as splendiferous as a warm autumn afternoon. These qualities should be honored, too.
Our production
While the opera is a strange one and not often performed, the Strauss sopranos vie for the part of the Countess. We’re playing a Paris performance - her role debut - by Renée Fleming, who later made the part hers. Here's her final aria (left) about her indecisiveness.
Olivier (he’s the poet) is sung by baritone Gerald Finley and we also have Anne Sofie von Otter singing Clairon, an actress the Count is in love with.
The production, from 2004, was filmed, in the Palais Garnier. Wonderful images. ‘The opulent surroundings of the Opera House double as the Countess’s chateau, and in the opening minutes we see Renée Fleming’s Countess wandering through the marbled foyers of the theatre, surrounded by footmen.’ Read more here.
But it’s a strange production, (Robert Carson’s), especially with its relocation to 1942 Nazi Germany. Reviews here and here.
And a great chance for us to review what we've learned of Strauss and his work!