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CAPRICCIO
Composer: Richard Strauss
Capriccio
Libretto by Clemens Krauss and the
composer
World premiere: Munich, State Opera,
October 28, 1942
A chateau near Paris, the 1920s. It
is the birthday of the young,
widowed Countess Madeleine. The
composer Flamand and the poet
Olivier are listening to the
rehearsal of Flamand’s string sextet,
written for the occasion, while the
theater director La Roche is dozing.
Flamand and Olivier realize that
they are both in love with the
countess. What will impress her
more—Flamand’s music or Olivier’s
poetry? La Roche wakes and joins the
argument. Neither poetry nor music,
he says, is the greatest of the arts.
His own, the art of theatrical
production, encompasses and
overshadows them both. He believes
in entertainment—splendid decor, top
notes, and beautiful women, such as
the famous actress Clairon, who
recently had an affair with Olivier.
La Roche is to direct the poet’s new
play, with Clairon and the
countess’s brother, a talented
amateur actor, in the leading roles.
As the three men leave to prepare
for the rehearsal, the count and
countess enter, teasing each other
about their artistic opinions.
La Roche and his protégés return and
Clairon arrives for the rehearsal.
She and the count read a scene from
Olivier’s play that ends with the
count reciting a passionate sonnet.
La Roche leads them both off to
rehearsal, leaving Flamand and
Olivier alone with the countess.
Olivier declares that the sonnet was
written for her and recites it again,
which inspires Flamand to rush off
to set it to music. Olivier seizes
the opportunity to declare his love
to the countess, who still hesitates
between poetry and music. Flamand
triumphantly returns to sing the
sonnet he has just composed. The
countess reflects on the synthesis
of words and music, while Olivier,
though moved, feels that his work
has been ruined. The two men argue
about the true authorship of the
sonnet, and the countess decides the
issue: it is now hers.
When La Roche takes Olivier away to
rehearsal, Flamand in turn declares
his love to the countess. He asks
her to decide: music or poetry, him
or Olivier? She promises that he
shall have the answer the next
morning at eleven o’clock. Flamand
leaves in great excitement.
The rehearsal over, the participants
return. Flamand and Olivier resume
their argument of words versus music
and the others join in. The count
ridicules opera in general. La Roche
introduces a pair of Italian singers
who perform a duet. Then he
announces his plans for an epic,
mythological spectacle, to be given
for the count’s birthday. When the
others make fun of his grandiose
ideas, La Roche eloquently attacks
them, expressing his theatrical
creed: instead of the feeble
attempts of modern writers, he wants
drama to show human beings in all
their complexity, as creatures of
flesh and blood. He challenges
Flamand and Olivier to create new
works that will speak for their
time. His listeners are moved and a
new plan emerges: Flamand and
Olivier are to write an opera
together. Possible subjects are
discussed, until the count suggests
that the events of this very day
should be the subject, with the
people present as its characters—it
is the opera we have been watching.
The ending is yet to be decided by
the countess.
The company breaks up and the guests
leave for Paris, accompanied by the
count. Servants enter to tidy up the
room, commenting on the events of
the afternoon from their point of
view—isn’t everybody just playing
theater? Monsieur Taupe, the
prompter, who had fallen asleep
during the rehearsal, unexpectedly
appears. He explains to the
major-domo that, in fact, it is he
who is the most important person in
the theater because without him the
show couldn’t go on. The major-domo,
after listening patiently, arranges
for his transport home.
It is evening. The countess enters
and learns from the major-domo that
Olivier will call the next morning
at eleven to hear from her the
ending of the opera. She tells
herself that since the reading of
the sonnet, the composer and the
poet seem inseparable—now they even
expect to meet her the following
morning at the same time. She begins
singing the sonnet to herself,
trying to make up her mind: which of
the two men does she love? Looking
at herself in the mirror, she
realizes she can’t make a choice.
When the major-domo announces that
dinner is served, she smiles at her
reflection and slowly walks out of
the room.
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