Lyric Opera of Chicago presents CAPRICCIO.
This is my second experience with Composer Richard Strauss’ debate of words verses music. Although Strauss aided Clemens Krauss in creating the libretto, there is no doubt what Strauss believes to be more important. Under the spirited baton of Sir Andrew Davis, the music dominates the stage from the overture to the finale. Strauss’ score is the clear winner in this ‘conversation piece for music.’
From the start, the opera is playful. A poet and composer fight for the affections of Chicago’s favorite diva Renee Fleming (Countess). The gents try to best each other in their lengthy, artistic discourse. Their rumblings whether they are ‘devoted rivals’ or ‘friendly enemies’ is interrupted by the comedic outbursts of Peter Rose (La Roche). It should be noted a pre-opera announcement indicated Rose was battling illness. It should also be noted that the bass was always heard over the orchestra. Something that wasn’t always true for the others. Whether he was taking jabs at the Countess’ suitors or ridiculing the orchestra, Herr Director (Rose) was in hilarious and melodious form.
CAPRICCIO takes place in the Countess’ salon. The set never changes. To counter the monotony of the one act, two part theatrical argument, colorful characters come into the room to literally entertain. The director holds makeshift auditions with an eccentric actress (played by the Anne Sofie Von Otter), a charismatic Italian duo (played by Juan Jose De Leon and Emily Birsan) and spunky dancers (alternating performances Jennifer Goodman and Randy Herrera, Abigail Simon and Jeffrey B. Hover, Jr.). The brief interludes of script reading, italian singing and ballet skillfully weave in bursts of frolicking. The additions add a delightful level of mirth. Within its larger music verses words dispute, CAPRICCIO takes pleasure in subtly poking fun of all aspects of opera. At one point, the servants enter to gossip about the theatrical events of the day. They impudently sing about an opera with a servant singing scene.
Although Strauss and Krauss have fun turning the libretto into a sophisticated type of opera roast, Strauss is always deliberate and thoughtful in his musical composition. In the final scene, Fleming pours her soul out while choosing between the poet and composer. While Fleming captivates the room in her passionate dilemma, Strauss still has the upper hand. The aria has more notes than words. The music wins again! It gives Fleming plenty of time to consider her suitor options. CAPRICCIO is definitely geared towards the musical lover!
Having seen “Don Giovanni” last week, I found myself in my own silent debate of Mozart verses Strauss. I came up with this analogy. Rain is a regular occurrence in Ireland. The Irish refer to a rain mist as soft. I would describe CAPRICCIO as a soft rain and “Don Giovanni” as the perfect storm. Although both nurture renewal, one will leave you more enthusiastically drenched.
Running Time: Three hours includes one intermission
At Lyric Opera, 20 N. Wacker
Composed by Richard Strauss
Libretto by Clemens Krauss and Richard Strauss
One act sung in German
Original directed by John Cox
Revival directed by Peter McClintock
Conducted by Sir Andrew Davis
October 9th, 15th, 22nd, 25th, 28th at 7:30pm
October 12th at 2pm
Buy Tickets at www.lyricopera.org