Organization

Певец

Сопрано

Malin Byström

Графиня

Баритон

Josef Wagner

Граф

Тенор

Norman Reinhardt

Фламан

Andrè Schuen

Оливьер

Бас

Christof Fischesser

Ла Роше

Контральто

Theresa Kronthaler

Клайрон

John Graham-Hall

Месье Таупе

Leonor Bonilla

Итальянская певица

Juan José de León

Итальянский певец

Torben Jürgens

Мажордом

Pablo Garcia Lopez

Criado

Sebastià Peris

Gerardo López

David Oller

Emmanuel Faraldo

Manuel Gómez Ruiz

David Sánchez

Дирижер

Asher Fisch

Режиссер-постановщик

Christof Loy

Художник-постановщик

Raimund Orfeo Voigt

Художник по костюмам

Klaus Bruns

Художник по свету

Franck Evin

Хореограф

Andreas Heise

Teatro Real de Madrid

Capriccio -  (Каприччио)

Мадрид

Испания

Teatro Real

The historic debate regarding the relative importance that words should have in opera with respect to the music constituted a source of fascination for Richard Strauss throughout his life. In Capriccio, he delves deeper in this topic, using an exceptional libretto, fruit of a suggestion from his dear Stefan Zweig, who found a brief comedy in the British Library which served as inspiration for that which would be the last opera of the German composer; a comedy, which incidentally had already served as inspiration for Antonio Salieri. From this point a plot arose, full of irony, featuring a Countess –symbol of art- whose affection were found to be divided between two suitors, a poet and a composer. Who should she chose? Decidedly Strauss placed special importance on the inteligibility of the text that was sung, while not scrimping on the musical resources, unfolding a palette of incomparable harmonies and textures. Capriccio is without a doubt an overwhelming synthesis of all that the musician had been able to improve over his career, something of which he himself was conscious: proud of his work, he rejected the suggestion from his librettist to initiate a new project. Quite simply he could not see how he could do any better.

Capriccio Strauss,R

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