R. STRAUSS - Naxos Music Library€¦ · 8.112034-35 211 8.112034-35 Great Opera Recordings Richard STRAUSS (1864 -1949) Capriccio (Op. 85) A Conversation Piece for Music in One Act

128.112034-35

R. STRAUSSCapriccio

Elisabeth Schwarzkopf · Eberhard Wächter · Nicolai GeddaDietrich Fischer-Dieskau · Hans Hotter · Christa Ludwig

Philharmonia OrchestraWolfgang Sawallisch

1957 – 58 Recording

ELIS

ABETH SCHWARZKOPF

8.111011-13

8.111033-34 8.111145

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8.111014-15

8.112034-35 bk Capriccio_EU 14-12-2009 10:08 Pagina 12

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Great Opera Recordings Richard

STRAUSS(1864 -1949)

Capriccio (Op. 85)A Conversation Piece for Music in One Act

Libretto by Clemens Krauss

The Countess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elisabeth Schwarzkopf (soprano)The Count, her Brother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eberhard Wächter (baritone)Flamand, a Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nicolai Gedda (tenor)Olivier, a Poet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dietrich Fischer-Dieskau (baritone)La Roche, the Theatre Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hans Hotter (baritone)The Actress Clarion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christa Ludwig (mezzo-soprano)Monsieur Taupe, the Prompter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rudolf Christ (tenor)An Italian Soprano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anna Moffo (soprano)An Italian Tenor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dermot Troy (tenor)The Major-Domo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Karl Schmitt-Walter (baritone)A Servant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wolfgang Sawallisch (baritone)Eight Servants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edgar Fleet (tenor)

Dennis Wicks (bass)Ian Humphries (tenor)

John Hauxwell (baritone)Geoffrey Walls (tenor)

Lesley Fyson (tenor)Edward Darling (tenor)

David Winnard (bass)Three Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Manoug Parikian (violin)

Raymond Clark (cello)Raymond Leppard (harpsichord)


Recorded in Kingsway Hall, London, 2 - 7, 9 and 11 September, 1957 and 28 March, 1958First released on Columbia 33CX 1600 through 1602

Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

while commenting on what has just happened: theCount is out for a little adventure while the Countess isin love but does not know with whom. The Major-Domo urges them to hurry up: when they have haddinner they will be free. A voice is heard from thetheatre, calling for the Director.Scene XII$ Monsieur Taupe, the prompter, staggers in. In theface of the Major-Domo’s queries, he explains who heis and what he does. If he sleeps, the actors cease tospeak. The Major-Domo offers him supper and a coachback to Paris. Monsieur Taupe thanks him and askshimself if he is awake or dreaming.Scene XIII: Final scene% The stage is empty, the salon is in darkness, themoon shines onto the terrace. The Countess enters, andstands on the terrace, bathed in moonlight. The Major-Domo enters, and lights the candles assisted by twoother servants.^ The Countess asks where her brother is and theMajor-Domo tells her that the Count has accompaniedClarion to Paris. The Countess reflects on his carefreenature. The Major-Domo goes on to mention thatOlivier will come tomorrow morning to learn from the

Countess how the opera is to end. The Countess askswhen will he be coming and the Major-Domo replies ateleven o’clock.& The Countess is concerned: Flamand will besurprised to see Olivier rather than herself when hereturns tomorrow morning. She must decide whatmoves her most, words or music.* She recites the sonnet heard earlier, and realises thatit is fruitless to try to give precedence to words ormusic. They are inseparably bound together.( The Countess recognises that she herself is enfoldedwithin the love of Flamand and music, and Olivier andthe word. She is loved but cannot give herself.) If she chooses one, she loses the other. She looks inthe mirror and asks her image to help her find an endingfor the opera, which is not too trivial. ¡ The Major-Domo enters, to announce that dinner isserved. The Countess waves at her reflection with herfan and goes into the dining-room. The Major-Domo,amazed at her behaviour, watches her and then looksback at the mirror.

David Patmore


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the respective merits of words, music and the stage.∞ The Count remarks that they stand before the chasmof opera. Clarion is attracted by the idea, but why arethe words always worse than the music? The Countesspraises Gluck while the Count complains of recitativesand La Roche excoriates the orchestra, always noisy:bel canto is about to die! The Countess asks to hear LaRoche’s two Italian singers before it dies.§ The two Italian singers sing a duet in the Italianstyle, expressing grief with gaiety. The Countessqueries the appropriateness of music to text, while theCount praises the beauty of the music.¶ While the two Italian singers enjoy the refreshmentsprovided for them by the Countess, the Count asksClarion if he may accompany her to Paris, to which sheagrees, while querying the genuineness of hisdeclarations of love. The Countess, Flamand andOlivier press La Roche to reveal his programme for theevening.

CD 2

Scene IX (part two)1 La Roche announces the theme of his azioneteatrale for the following day. It will be in two parts.The first will present the allegory of ‘The Birth ofPallas Athene’. His colleagues start to make fun of himand of this proposal.2 (Octet: Part One: Laughing – Ensemble).The mockery of La Roche develops pace. While theCount ridicules La Roche, and the Italian sopranoenthuses about the cake, the Countess recognises thatthe Theatre Director is serious in his proposal and isoffended. She must mollify him.3 The Countess asks La Roche to bear with them,they are only amateurs. She enquires what the subjectof the second part of the spectacle will be. He proudlyannounces that it will portray ‘The Fall of Carthage’with great spectacle.4 (Octet: Part Two: Dispute – Ensemble). Flamand and Olivier’s ridicule of La Roche becomes

harsher. The Count looks on with amusement, theCountess expresses concern at Flamand and Olivier’scruelty, the Italian singers fear for the loss of their fee,and Clarion forecasts eventual victory for the wily oldTheatre Director.5 La Roche then powerfully both defends the theatreand attacks poet and composer for their immaturity. 6 He, La Roche, serves the eternal laws of drama,preserving the old while waiting for the new. He wantsto people the stage with real human beings, with theirsufferings and joys. If writers and composers cannotcreate them they should cease their petty criticisms.7 Without men such as he, where would the theatre betoday? He lives for the theatre and he will live on withglory in its history. Clarion rushes forward to embraceLa Roche, and the Count applauds him.8 The Countess steps forward and entreats all to worktogether to produce a work of art.9 Flamand, Olivier, Clarion and La Roche agree toput aside their differences, recognising the will of theCountess. The Count realises that the outcome will bean opera.0 La Roche encourages all to set to workimmediately. Flamand and Olivier search for possiblesubjects and suggest ‘Ariadne auf Naxos’ or ‘Daphne’[both set by Strauss], but La Roche is not enthusiastic.! The Count suggests that they write a work based onthe events of this day. The response from Flamand andOlivier is enthusiastic. La Roche is surprised andhesitant. Clarion once more prepares to leave for Paris,accompanied by La Roche. The Countess says good-bye to them all and retires. Scene X@ Clarion leaves with the Count. Flamand courteouslysuggest to Olivier that the words will have precedencein their new work, while Olivier insists that musicshould come first, while hoping aside that it will be theword. As they all depart La Roche reminds them of theimportance of good stage effects.Scene XI# Eight servants enter and put the salon in order,

CD 1 75:53

1 Prelude 7:29(Orchestra)Scene I

2 Bezaubernd ist sie heute wieder! 3:00(Flamand, Olivier)

3 Bei sanfter Musik schläft sich’s am besten 4:06(Director, Olivier, Flamand)

4 Eine schöne Heroine hast auch du nicht verschmäht! 2:35(Director, Flamand, Olivier)Scene II

5 Der Strom der Töne trug mich fort 4:35(Countess, Count)Scene III

6 Die Buhne ist fertig, wir können beginnen 1:35(Director, Count, Countess, Flamand, Olivier)Scene IV

7 Da ist sie! Ich eile, sie zu begrüssen 2:38(Count, Olivier, Director, Countess, Flamand, Clarion)

8 Ihr geht 1:27(Clarion, Count)

9 Kein Andres, das mir so im Herzen loht 2:06(Count, Clarion, Director)

0 Ein Philosoph schreitet seiner Bekehrung entgegen 2:17(Countess, Flamand, Olivier)Scene V

! Lassen Sie ihn gewähren 3:58(Countess, Olivier, Flamand)Scene VI

@ Kein Andres, das mir so im Herzen loht 2:18(Flamand)

# Trio: Des Dichters Worte 1:22(Countess, Olivier, Flamand)

$ Wie schön die Worte, kaum kenn’ ich sie wieder! 2:14(Countess, Olivier, Flamand, Director)Scene VII

% Verraten hab’ ich meine Gefühle! 1:43(Flamand, Countess)

^ Diese Liebe, plötzlich geboren an diesem Nachmittag 4:56(Flamand, Countess)

& Wir werden die Schokolade hier 2:28(Countess)Scene VIII

* Welch’ köstliche Begegnung! 2:38(Count, Countess)Scene IX

( Wir kehren zurück in die Welt des Salons 2:26(Director, Olivier, Clarion, Count, Countess)

) Dance I: Passepied / Was sagt Ihr! 2:31(Three Musicians, Director)

¡ Dance II: Gigue / Ich bin fest entschlossen 2:10(Three Musicians, Olivier, Clarion, Director)

™ Dance III: Gavotte 1:27(Three Musicians)

£ Eure Kunst entzückt und begeistert mich 0:47(Count, Flamand)

¢ Fugue – Discussion on the Theme:Words or Music: Tanz und Musik 3:20(Olivier, Flamand, Director, Count, Countess, Clarion)

∞ Das sagt Ihr jetzt, in dem Augenblick 4:51(Countess, Count, Clarion, Olivier, Flamand, Director)

§ Duet of the Italian Singers: Addio, mia vita, addio 3:30(Tenor, Soprano)


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She takes the script from the Countess’s hands andceremonially gives it to La Roche, asking him to startthe preparations. As he departs with Clarion and theCount, La Roche asks Olivier to stay behind, as hecannot have the Poet present at rehearsals.0 The Countess watches them depart, commentingthat Olivier’s writing was high-flown. Olivier repliesthat the Count’s delivery was not quite appropriate,and launches into the same sonnet himself. As hespeaks directly to her the Countess upbraids him forchanging the person to whom the sonnet is addressed.She suggests that is better not to proclaim love inpublic, and asks for Flamand’s agreement. He hurriesout, saying that Olivier’s words have inspired musicwhich he can already hear in his mind.Scene V! Olivier is concerned that his poetry will be ruinedthrough being set to music. He tells the Countess thathe yearns for her, but she asks him to stand back – loveis a fire that needs constant fanning. She draws hisattention to Flamand, composing close by, and inanswer to Olivier’s queries about music replies that itawakens mysterious dreams and expresses hiddendepths. As Olivier continues to press her, Flamandrushes in with his latest composition.Scene VI@ Flamand sings Olivier’s sonnet which he has justset to music.# In a trio the Countess muses on the inextricable wayin which words and music are joined, while Oliviercurses Flamand for ruining his verses, as Flamandcontinues to sing.$ The Countess reflects on how beautiful Olivier’swords now are, while Olivier wonders whether thesonnet is still his. The Countess replies that it is hers.La Roche enters, urgently requiring Olivier to agree toa cut in the text; the two exit.Scene VII% Left alone with the Countess, Flamand declares thathis true feelings have been revealed. He asks the

Countess to choose between music and poetry, himselfand Olivier.^ Flamand passionately declares his love, awakenedthis afternoon by seeing the Countess. He presses herand she replies that she will have a response for himthe following morning at eleven. Flamand impetuouslykisses her and rushes out.& The Countess sits pensively in her chair while therehearsal continues in the theatre. She rings for herMajor-Domo and asks for chocolate.Scene VIII* The Count enters, excited by his encounter withClarion. The Countess mocks him and cautions himfrom going too far. She tells her brother that both thepoet and composer have declared their love for her:perhaps the result will be an opera. Pressed by hissister, the Count declares words as his choice. TheCountess wishes him luck with Clarion.Scene IX (part one)( Clarion, La Roche and Olivier enter in good spiritsfrom the theatre, followed by Flamand. Clarion praisesthe Count’s dramatic efforts, despite the Prompterfalling asleep. The Count asks her to stay for theevening but she has to return to Paris for anotherperformance. The Countess offers them somechocolate before departure, which La Rochewelcomes. ) (Dance 1: Passepied) As refreshments are served,three musicians and a young female dancer whom LaRoche lavishly praises, perform. Olivier praisesClarion.¡ (Dance 2: Gigue) Clarion assures Olivier that theirrelationship is finished.™ (Dance 3: Gavotte).£ The Count compliments the dancer, thanks themusicians and suggests to Flamand that his music hasan exquisite partner in dance, a sentiment whichFlamand rejects.¢ (Fugue: Discussion on the Theme: Words or Music)The assembled company launch into a discussion of

¶ Darf ich Sie nach Paris zurückbringen 1:25(Count, Clarion, Countess, Director, Olivier, Flamand)

CD 2 58:57

Scene IX (part two)1 Das Huldingungsfestspiel 1:53

(Director, Count, Flamand, Olivier, Countess, Clarion)

2 Octet, Part One: Laughing - Ensemble: Ein possierlicher Einfall! 1:08(Count, Olivier, Director, Clarion, Countess,Flamand, Tenor, Soprano)

3 Sie sehen uns überrascht von Ihrer Phantasie 1:25(Countess, Director, Flamand, Olivier)

4 Octet, Part Two: Dispute – Ensemble: Aber so hört doch! 2:39(Director, Olivier, Flamand, Count, Countess, Tenor, Soprano, Clarion)

5 Hola! ihr Streiter in Apoll! 2:53(Director)

6 Ich diene den ewigen Gesetzen des Theaters 3:12(Director)

7 Heute im Zenith meiner ruhmreichen Laufbahn 4:12(Director, Clarion, Olivier, Flamand, Soprano, Tenor)

8 Ihr hörtet die mahnende Stimme unseres Freudes! 2:54(Countess, Count, Clarion)

9 Was hebt sich göttergleich aus hohem Äther? 1:48(Countess, Olivier, Flamand, Clarion, Director, Count)

0 Nun gleich an die Arbeit 1:47(Director, Olivier, Flamand, Countess, Count)

! Ich wüsste ein äusserst fesselndes Thema! 4:16(Count, Director, Olivier, Flamand, Count,Countess, Clarion)Scene X

@ Gut in eure Mäntel gehüllt 2:05(Director, Count, A Servant, Clarion, Flamand, Olivier)Scene XI

# Das war ein schöner Lärm 4:10(Eight Servants)Scene XII

$ Herr Director! 4:09(Monsieur Taupe, Major-Domo)Scene XIII

% Andante con moto 3:29(Orchestra)

^ Wo ist mein Bruder? 1:28(Countess, Major-Domo)

& Morgen mittag um elf! 1:21(Countess)

* Kein Andres, das mir so im Herzen loht 4:14(Countess)

( Ihre Liebe schlägt mir entgegen 2:10(Countess)

) Wählst du den einen 5:25(Countess)

¡ Frau Gräfin, das Souper ist serviert 2:19(Major-Domo)


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The death in 1929 of the Austrian writer Hugo vonHofmannsthal represented a water-shed in RichardStrauss’s creative life. Hofmannsthal had been Strauss’sclose collaborator and the librettist of several of hismost successful operas, most notably DerRosenkavalier of 1911. Looking out for a new creativepartner, Strauss came into contact with anotherdistinguished Austrian writer, Stefan Zweig. The twocollaborated on the opera Die schweigsame Frau, firstperformed in Dresden in 1935 under difficultcircumstances, Strauss having refused the Nazi demandfor the writer’s name to be removed from postersadvertising the opera, Zweig being Jewish. Zweig couldno longer work formally with Strauss but he continuedto advise him. One of his suggestions for a possiblefuture operatic subject was an eighteenth-centurylibretto parodying opera, Prima la musica, poi le parole(First the music, then the words), by Casti (1724-1803),which had been set to music by Salieri. Following theonset of war in 1939 Strauss became depressed: lookingfor another opera subject after Daphne he returned toZweig’s suggestion, and discussed it with another closecolleague, the conductor and director of the MunichOpera, Clemens Krauss. Strauss felt that Casti’s librettowould offer the opportunity ‘to do something unusual’,but who could fashion the libretto? Krauss initiallysuggested that Strauss himself write it, having done sowith Intermezzo, but the composer responded ‘I knowmy limitations’. Instead he suggested that Krauss mighttry. After some hesitation Krauss agreed and then set towork enthusiastically: ‘the boss is writing poetry’ hissecretaries told visitors to his office. Work progressedquickly, with both artists collaborating closely: Strausshimself contributed the central idea of a sonnet writtenby a poet and set to music by a composer for a countesswith whom they are both in love. As the premièreapproached the question of an interval in the face ofenemy air-raids raised its head. Krauss recommendeddoing without. Strauss responded: ‘Just consider: thefirst act of Götterdämmerung lasts two hours and hasseveral scenes. We, however, need two and a half hours

for a piece with one scene and without any dramaticevents.’ Krauss agreed, but nonetheless insisted. Thefirst performance took place on 28th October 1942 inMunich, with Krauss conducting and his wife, theRomanian soprano Viorica Ursuleac, taking the centralrôle of the Countess. ‘I can do no better’ Strauss saidafterwards. Immediately recognised as one of thecomposer’s finest and most subtle works, Capriccioposes the central dilemma in opera: what is moreimportant, the words or the music? Like opera itself, theCountess is unable to choose between poet andcomposer. At the end she stands before her mirror, asthe Marschallin had done many years before in the firstact of Der Rosenkavalier, and cannot decide. TheCountess and Strauss, an expert at combining sensualityand intellect in his operas, both take their leave withoutan answer: ‘Words and sound have been blended to aunity … to form something new. The secret of the hour– to salvage one art, by means of another.’

Sixteen years later, during 1957 and 1958, the EMIrecord producer Walter Legge produced this landmarkrecording of Capriccio in London for EMI’s Columbialabel, with his Philharmonia Orchestra. Having alreadyachieved great critical and popular success with his1956 production of Der Rosenkavalier conducted byHerbert von Karajan and featuring his wife ElisabethSchwarzkopf as the Marschallin, Legge castSchwarzkopf once again in a central rôle of Capriccio,as the Countess. He surrounded her with the finestsingers of the day: from Vienna came Eberhard Wächterand Christa Ludwig to sing the Countess’s brother theCount and the actress Clarion. From Germany cameDietrich Fischer-Dieskau and Hans Hotter – two heavy-weights of the post-war operatic stage – to sing the poetOlivier and the Theatre Director La Roche. And fromSweden came the mellifluous tenor, Nicolai Gedda,ideally cast as the musician Flamand. Conducting wasthe young German maestro Wolfgang Sawallisch, withwhom Legge had worked closely since 1954. Oneoddity about this recording was that it was recorded inmonophonic rather than in stereophonic sound, which at

Richard Strauss (1864-1949):Capriccio

CapriccioSynopsis

The setting is the salon of a rococo castle overlooking apark. To the left one door leads to the Countess’s salon,and another to the dining-room; to the right anotherdoor leads to the stage of a private theatre.

CD 1

Prologue1 Prelude: As the curtain rises the Andante from aString Sextet is heard. It has been written by thecomposer Flamand to mark the birthday of the youngwidowed Countess, and is being played to her in hersalon. Both Flamand and the poet Olivier are standingnear to the door to her salon, listening attentively andwatching the Countess, while the Theatre Director LaRoche sits asleep in an armchair.Scene I2 Both Flamand and Olivier discover that they are inlove with the Countess, and discuss which she willprefer: words or music? They see themselves as lovingenemies, friendly opponents.3 As the music ends softly the Theatre Director LaRoche wakes up. He complains about the trials andtribulations of mounting serious operas by composerssuch as Gluck: endless rehearsals followed by failure.By contrast composers such as Piccinni know their craftand appeal to the man in the street. The public wantsflesh and blood characters on the stage, not remotefigures from the mythical past. Opera buffa is ideal,with sparkling humour and feminine charm.4 Flamand reminds Olivier of his earlier affair with thebeautiful actress Clarion. Olivier confesses to admiringher talent still, while La Roche remarks that the Count,the Countess’s brother, is likely to replace Olivier inClarion’s affections. All three admire the Countess asshe prepares to enter; they themselves depart into thetheatre, La Roche saying that his work as stage directornow begins.

Scene II5 The Count and the Countess enter. The Countessremarks that she has been carried away by the music.Her brother asks if she is attracted to Flamand. TheCountess replies that she finds it difficult to separatemen from their works. The Count praises the dramaticwriting of Olivier, but his sister suggests that he is asinterested in the actress Clarion. The Count confesses tobeing anxious having to act on the stage with her but theCountess comments that his title will make up for anylack of talent. The Count presses her to declare apreference for words or music, Olivier or Flamand, butshe replies that choice would mean loss. The Countexpresses his carefree attitude to life, while theCountess is more circumspect: the joy of life is toacknowledge gladly and inwardly to yield.Scene III6 La Roche, Flamand and Olivier re-enter: the stage isnow ready, and the programme for the Countess’sbirthday celebrations is settled: music by Flamand, adrama from Olivier, and a spectacular theatrical‘Homage Play’ about which La Roche can reveal littleat present.Scene IV7 Clarion is seen in the park; the Count goes towelcome her, and presents her to the Countess. All singClarion’s praises, while she fears that they may bedisappointed in her after such a warm welcome. Sheasks Olivier if he has finished his poem, which formspart of the celebrations. He replies that he has justcompleted a sonnet, while looking at the Countess.Clarion suggests that she and the Count should read ittogether.8 Clarion and the Count read their parts. Clarion’s isan impassioned farewell to her lover on his departure,while the Count’s is similarly matched in intensity.Clarion’s character fears that her lover’s affection mayfade, and asks him to swear to his love.9 The Counts recites a sonnet (taken from Ronsard)declaring constancy in the most grandiose terms.Clarion congratulates the Count on his performance.


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this time was generating increasing interest amongstconsumers and within the recording industry. Thereason for this probably lies in the summer 1957recording date, when EMI had few stereo recorders,most of which may have been reserved for recordingsessions abroad. Legge himself was a slow convert tostereo, telling the producer and conductor Georg Soltiand John Culshaw in late 1958, just before theirViennese recording sessions for Decca of DasRheingold, that stereo would never catch on. ThisWagner recording, however, exploited stereoeffectively and went on to achieve record sales in bothAmerica and England. Without the benefit of stereoLegge’s production of Capriccio was unable to hold itsplace in the catalogue for long: by the end of the 1960sit had been relegated to a record club label run by EMI.So great are its musical merits, however, that it hassubsequently come to be recognised as the masterpiecethat it is.

Elisabeth Schwarzkopf was born near Poznaƒ in1915. She studied singing in Berlin with Maria Ivogün,and made her operatic stage début at the BerlinStaatsoper in 1938 as a Flower Maiden in Parsifal.Following four years singing in Berlin, she joined theVienna State Opera in 1942. She made her firstappearance in the United Kingdom as Donna Elvira inDon Giovanni when this company visited CoventGarden in 1947. Her début at La Scala, Milan, tookplace in 1950, and she returned there frequently to singa wide range of rôles. In 1951 she created the part ofAnne Trulove in Stravinsky’s The Rake’s Progress atits Venice première. Her American début took place in1954 in San Francisco, as the Marschallin, a year afterher marriage to Walter Legge. During the 1960s sherestricted her operatic appearances to just a handful ofMozart and Strauss rôles, including the Countess inCapriccio. She retired from the stage in 1971, butcontinued to give Lieder recitals. Following Legge’sdeath in 1979, she restricted herself to teaching. Shedied in 2006, having been made a Dame of the BritishEmpire (DBE) in 1992.

Christa Ludwig was born in Berlin in 1924. Shestudied with her mother and with Felice Huni-Mihaãek,and made her début in 1946. After singing in several

different German opera houses she made her SalzburgFestival début as Cherubino in Le nozze di Figaro in1954, and first appeared at the Vienna State Operaduring the following year. Between 1957 and 1970 shewas married to the Austrian baritone Walter Berry. Shefirst sang at the Metropolitan Opera, New York, asDorabella in Così fan tutte in 1959, and at CoventGarden as Amneris in Aida, in 1968. She had a wideoperatic repertoire, excelling in the music of Mozart andStrauss, and was also a noted recitalist, with a greatunderstanding of the music of Mahler. She gave herfinal operatic performance as Clytemnestra in Strauss’sElektra in Vienna in 1994, and has subsequentlyremained active as a teacher.

Nicolai Gedda was born in Stockholm in 1925 intoa Russian / Swedish family. After studying with theveteran tenor Carl Martin Öhman he made his début atthe Royal Swedish Opera in Adam’s Le postillon deLonjumeau in 1952. By this time he had already sungfor Walter Legge, who quickly engaged him fornumerous commercial recordings. His internationalstage career developed rapidly, with débuts in 1953 atLa Scala, Milan, (Don Ottavio / Don Giovanni), in 1954the Paris Opéra (the title rôle in Weber’s Oberon) andCovent Garden (the Duke / Rigoletto), and in 1957 atthe Metropolitan Opera in New York (the title rôle inGounod’s Faust). The master of a vast operatic andconcert repertoire, he remained active until well into hislate seventies, recording the High Priest in Idomeneo in2003.

Dietrich Fischer-Dieskau was born in 1925 inBerlin, where he studied singing. He made hisprofessional début in 1947, substituting for a sickcolleague as the baritone solo in Brahms’s GermanRequiem. This was quickly followed by his operaticdébut as Posa in Don Carlos in 1948, also in Berlin. Hemade his Salzburg Festival début in 1953 singingMahler with Furtwängler, by which time he was activeas both an international opera singer and as a songrecitalist. He was a regular at the Bayreuth Festivalbetween 1954 and 1961, and returned to Salzburgfrequently until the early 1970s. From 1973 he alsoconducted occasionally. He retired from opera in 1978,the year in which he recorded his final operatic rôle, the

title part in Aribert Reimann’s Lear, and from theconcert hall in 1992.

Eberhard Wächter was born in 1929 in Vienna,where he studied singing and made his début as Silvioin Pagliacci in 1953 at the Volksoper. He subsequentlyjoined the Vienna State Opera, where he became acentral figure in the company. He made his débuts atCovent Garden as Count Almaviva in Le nozze diFigaro in 1956, at the Bayreuth Festival as Amfortas inParsifal in 1959, at La Scala, Milan as CountAlmaviva in 1960 and at the Metropolitan Opera, NewYork, as Wolfram in Tannhäuser, in 1961. Between1987 and 1992 he was the manager of the ViennaVolksoper and from 1991 of the Vienna State Opera,until his unexpected death from a heart attack in 1992.

Hans Hotter was born in Offenbach-am-Main in1909. He initally studied church music before turningto opera. He made his début in 1929 and sang inGermany and the Czech Republic before joining theopera companies of Munich and Vienna in 1940. Afterthe Second World War he became recognised as one ofthe pre-eminent Wagner singers of his generation,singing major rôles such as Wotan in Wagner’s Ringcycle at the Bayreuth Festival, Covent Garden, andelsewhere. Towards the end of his career he createdpenetrating studies of several character rôles, such asSchigolch in Berg’s Lulu. He died in 2003.

David Patmore


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this time was generating increasing interest amongstconsumers and within the recording industry. Thereason for this probably lies in the summer 1957recording date, when EMI had few stereo recorders,most of which may have been reserved for recordingsessions abroad. Legge himself was a slow convert tostereo, telling the producer and conductor Georg Soltiand John Culshaw in late 1958, just before theirViennese recording sessions for Decca of DasRheingold, that stereo would never catch on. ThisWagner recording, however, exploited stereoeffectively and went on to achieve record sales in bothAmerica and England. Without the benefit of stereoLegge’s production of Capriccio was unable to hold itsplace in the catalogue for long: by the end of the 1960sit had been relegated to a record club label run by EMI.So great are its musical merits, however, that it hassubsequently come to be recognised as the masterpiecethat it is.

Elisabeth Schwarzkopf was born near Poznaƒ in1915. She studied singing in Berlin with Maria Ivogün,and made her operatic stage début at the BerlinStaatsoper in 1938 as a Flower Maiden in Parsifal.Following four years singing in Berlin, she joined theVienna State Opera in 1942. She made her firstappearance in the United Kingdom as Donna Elvira inDon Giovanni when this company visited CoventGarden in 1947. Her début at La Scala, Milan, tookplace in 1950, and she returned there frequently to singa wide range of rôles. In 1951 she created the part ofAnne Trulove in Stravinsky’s The Rake’s Progress atits Venice première. Her American début took place in1954 in San Francisco, as the Marschallin, a year afterher marriage to Walter Legge. During the 1960s sherestricted her operatic appearances to just a handful ofMozart and Strauss rôles, including the Countess inCapriccio. She retired from the stage in 1971, butcontinued to give Lieder recitals. Following Legge’sdeath in 1979, she restricted herself to teaching. Shedied in 2006, having been made a Dame of the BritishEmpire (DBE) in 1992.

Christa Ludwig was born in Berlin in 1924. Shestudied with her mother and with Felice Huni-Mihaãek,and made her début in 1946. After singing in several

different German opera houses she made her SalzburgFestival début as Cherubino in Le nozze di Figaro in1954, and first appeared at the Vienna State Operaduring the following year. Between 1957 and 1970 shewas married to the Austrian baritone Walter Berry. Shefirst sang at the Metropolitan Opera, New York, asDorabella in Così fan tutte in 1959, and at CoventGarden as Amneris in Aida, in 1968. She had a wideoperatic repertoire, excelling in the music of Mozart andStrauss, and was also a noted recitalist, with a greatunderstanding of the music of Mahler. She gave herfinal operatic performance as Clytemnestra in Strauss’sElektra in Vienna in 1994, and has subsequentlyremained active as a teacher.

Nicolai Gedda was born in Stockholm in 1925 intoa Russian / Swedish family. After studying with theveteran tenor Carl Martin Öhman he made his début atthe Royal Swedish Opera in Adam’s Le postillon deLonjumeau in 1952. By this time he had already sungfor Walter Legge, who quickly engaged him fornumerous commercial recordings. His internationalstage career developed rapidly, with débuts in 1953 atLa Scala, Milan, (Don Ottavio / Don Giovanni), in 1954the Paris Opéra (the title rôle in Weber’s Oberon) andCovent Garden (the Duke / Rigoletto), and in 1957 atthe Metropolitan Opera in New York (the title rôle inGounod’s Faust). The master of a vast operatic andconcert repertoire, he remained active until well into hislate seventies, recording the High Priest in Idomeneo in2003.

Dietrich Fischer-Dieskau was born in 1925 inBerlin, where he studied singing. He made hisprofessional début in 1947, substituting for a sickcolleague as the baritone solo in Brahms’s GermanRequiem. This was quickly followed by his operaticdébut as Posa in Don Carlos in 1948, also in Berlin. Hemade his Salzburg Festival début in 1953 singingMahler with Furtwängler, by which time he was activeas both an international opera singer and as a songrecitalist. He was a regular at the Bayreuth Festivalbetween 1954 and 1961, and returned to Salzburgfrequently until the early 1970s. From 1973 he alsoconducted occasionally. He retired from opera in 1978,the year in which he recorded his final operatic rôle, the

title part in Aribert Reimann’s Lear, and from theconcert hall in 1992.

Eberhard Wächter was born in 1929 in Vienna,where he studied singing and made his début as Silvioin Pagliacci in 1953 at the Volksoper. He subsequentlyjoined the Vienna State Opera, where he became acentral figure in the company. He made his débuts atCovent Garden as Count Almaviva in Le nozze diFigaro in 1956, at the Bayreuth Festival as Amfortas inParsifal in 1959, at La Scala, Milan as CountAlmaviva in 1960 and at the Metropolitan Opera, NewYork, as Wolfram in Tannhäuser, in 1961. Between1987 and 1992 he was the manager of the ViennaVolksoper and from 1991 of the Vienna State Opera,until his unexpected death from a heart attack in 1992.

Hans Hotter was born in Offenbach-am-Main in1909. He initally studied church music before turningto opera. He made his début in 1929 and sang inGermany and the Czech Republic before joining theopera companies of Munich and Vienna in 1940. Afterthe Second World War he became recognised as one ofthe pre-eminent Wagner singers of his generation,singing major rôles such as Wotan in Wagner’s Ringcycle at the Bayreuth Festival, Covent Garden, andelsewhere. Towards the end of his career he createdpenetrating studies of several character rôles, such asSchigolch in Berg’s Lulu. He died in 2003.

David Patmore


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The death in 1929 of the Austrian writer Hugo vonHofmannsthal represented a water-shed in RichardStrauss’s creative life. Hofmannsthal had been Strauss’sclose collaborator and the librettist of several of hismost successful operas, most notably DerRosenkavalier of 1911. Looking out for a new creativepartner, Strauss came into contact with anotherdistinguished Austrian writer, Stefan Zweig. The twocollaborated on the opera Die schweigsame Frau, firstperformed in Dresden in 1935 under difficultcircumstances, Strauss having refused the Nazi demandfor the writer’s name to be removed from postersadvertising the opera, Zweig being Jewish. Zweig couldno longer work formally with Strauss but he continuedto advise him. One of his suggestions for a possiblefuture operatic subject was an eighteenth-centurylibretto parodying opera, Prima la musica, poi le parole(First the music, then the words), by Casti (1724-1803),which had been set to music by Salieri. Following theonset of war in 1939 Strauss became depressed: lookingfor another opera subject after Daphne he returned toZweig’s suggestion, and discussed it with another closecolleague, the conductor and director of the MunichOpera, Clemens Krauss. Strauss felt that Casti’s librettowould offer the opportunity ‘to do something unusual’,but who could fashion the libretto? Krauss initiallysuggested that Strauss himself write it, having done sowith Intermezzo, but the composer responded ‘I knowmy limitations’. Instead he suggested that Krauss mighttry. After some hesitation Krauss agreed and then set towork enthusiastically: ‘the boss is writing poetry’ hissecretaries told visitors to his office. Work progressedquickly, with both artists collaborating closely: Strausshimself contributed the central idea of a sonnet writtenby a poet and set to music by a composer for a countesswith whom they are both in love. As the premièreapproached the question of an interval in the face ofenemy air-raids raised its head. Krauss recommendeddoing without. Strauss responded: ‘Just consider: thefirst act of Götterdämmerung lasts two hours and hasseveral scenes. We, however, need two and a half hours

for a piece with one scene and without any dramaticevents.’ Krauss agreed, but nonetheless insisted. Thefirst performance took place on 28th October 1942 inMunich, with Krauss conducting and his wife, theRomanian soprano Viorica Ursuleac, taking the centralrôle of the Countess. ‘I can do no better’ Strauss saidafterwards. Immediately recognised as one of thecomposer’s finest and most subtle works, Capriccioposes the central dilemma in opera: what is moreimportant, the words or the music? Like opera itself, theCountess is unable to choose between poet andcomposer. At the end she stands before her mirror, asthe Marschallin had done many years before in the firstact of Der Rosenkavalier, and cannot decide. TheCountess and Strauss, an expert at combining sensualityand intellect in his operas, both take their leave withoutan answer: ‘Words and sound have been blended to aunity … to form something new. The secret of the hour– to salvage one art, by means of another.’

Sixteen years later, during 1957 and 1958, the EMIrecord producer Walter Legge produced this landmarkrecording of Capriccio in London for EMI’s Columbialabel, with his Philharmonia Orchestra. Having alreadyachieved great critical and popular success with his1956 production of Der Rosenkavalier conducted byHerbert von Karajan and featuring his wife ElisabethSchwarzkopf as the Marschallin, Legge castSchwarzkopf once again in a central rôle of Capriccio,as the Countess. He surrounded her with the finestsingers of the day: from Vienna came Eberhard Wächterand Christa Ludwig to sing the Countess’s brother theCount and the actress Clarion. From Germany cameDietrich Fischer-Dieskau and Hans Hotter – two heavy-weights of the post-war operatic stage – to sing the poetOlivier and the Theatre Director La Roche. And fromSweden came the mellifluous tenor, Nicolai Gedda,ideally cast as the musician Flamand. Conducting wasthe young German maestro Wolfgang Sawallisch, withwhom Legge had worked closely since 1954. Oneoddity about this recording was that it was recorded inmonophonic rather than in stereophonic sound, which at

Richard Strauss (1864-1949):Capriccio

CapriccioSynopsis

The setting is the salon of a rococo castle overlooking apark. To the left one door leads to the Countess’s salon,and another to the dining-room; to the right anotherdoor leads to the stage of a private theatre.

CD 1

Prologue1 Prelude: As the curtain rises the Andante from aString Sextet is heard. It has been written by thecomposer Flamand to mark the birthday of the youngwidowed Countess, and is being played to her in hersalon. Both Flamand and the poet Olivier are standingnear to the door to her salon, listening attentively andwatching the Countess, while the Theatre Director LaRoche sits asleep in an armchair.Scene I2 Both Flamand and Olivier discover that they are inlove with the Countess, and discuss which she willprefer: words or music? They see themselves as lovingenemies, friendly opponents.3 As the music ends softly the Theatre Director LaRoche wakes up. He complains about the trials andtribulations of mounting serious operas by composerssuch as Gluck: endless rehearsals followed by failure.By contrast composers such as Piccinni know their craftand appeal to the man in the street. The public wantsflesh and blood characters on the stage, not remotefigures from the mythical past. Opera buffa is ideal,with sparkling humour and feminine charm.4 Flamand reminds Olivier of his earlier affair with thebeautiful actress Clarion. Olivier confesses to admiringher talent still, while La Roche remarks that the Count,the Countess’s brother, is likely to replace Olivier inClarion’s affections. All three admire the Countess asshe prepares to enter; they themselves depart into thetheatre, La Roche saying that his work as stage directornow begins.

Scene II5 The Count and the Countess enter. The Countessremarks that she has been carried away by the music.Her brother asks if she is attracted to Flamand. TheCountess replies that she finds it difficult to separatemen from their works. The Count praises the dramaticwriting of Olivier, but his sister suggests that he is asinterested in the actress Clarion. The Count confesses tobeing anxious having to act on the stage with her but theCountess comments that his title will make up for anylack of talent. The Count presses her to declare apreference for words or music, Olivier or Flamand, butshe replies that choice would mean loss. The Countexpresses his carefree attitude to life, while theCountess is more circumspect: the joy of life is toacknowledge gladly and inwardly to yield.Scene III6 La Roche, Flamand and Olivier re-enter: the stage isnow ready, and the programme for the Countess’sbirthday celebrations is settled: music by Flamand, adrama from Olivier, and a spectacular theatrical‘Homage Play’ about which La Roche can reveal littleat present.Scene IV7 Clarion is seen in the park; the Count goes towelcome her, and presents her to the Countess. All singClarion’s praises, while she fears that they may bedisappointed in her after such a warm welcome. Sheasks Olivier if he has finished his poem, which formspart of the celebrations. He replies that he has justcompleted a sonnet, while looking at the Countess.Clarion suggests that she and the Count should read ittogether.8 Clarion and the Count read their parts. Clarion’s isan impassioned farewell to her lover on his departure,while the Count’s is similarly matched in intensity.Clarion’s character fears that her lover’s affection mayfade, and asks him to swear to his love.9 The Counts recites a sonnet (taken from Ronsard)declaring constancy in the most grandiose terms.Clarion congratulates the Count on his performance.


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She takes the script from the Countess’s hands andceremonially gives it to La Roche, asking him to startthe preparations. As he departs with Clarion and theCount, La Roche asks Olivier to stay behind, as hecannot have the Poet present at rehearsals.0 The Countess watches them depart, commentingthat Olivier’s writing was high-flown. Olivier repliesthat the Count’s delivery was not quite appropriate,and launches into the same sonnet himself. As hespeaks directly to her the Countess upbraids him forchanging the person to whom the sonnet is addressed.She suggests that is better not to proclaim love inpublic, and asks for Flamand’s agreement. He hurriesout, saying that Olivier’s words have inspired musicwhich he can already hear in his mind.Scene V! Olivier is concerned that his poetry will be ruinedthrough being set to music. He tells the Countess thathe yearns for her, but she asks him to stand back – loveis a fire that needs constant fanning. She draws hisattention to Flamand, composing close by, and inanswer to Olivier’s queries about music replies that itawakens mysterious dreams and expresses hiddendepths. As Olivier continues to press her, Flamandrushes in with his latest composition.Scene VI@ Flamand sings Olivier’s sonnet which he has justset to music.# In a trio the Countess muses on the inextricable wayin which words and music are joined, while Oliviercurses Flamand for ruining his verses, as Flamandcontinues to sing.$ The Countess reflects on how beautiful Olivier’swords now are, while Olivier wonders whether thesonnet is still his. The Countess replies that it is hers.La Roche enters, urgently requiring Olivier to agree toa cut in the text; the two exit.Scene VII% Left alone with the Countess, Flamand declares thathis true feelings have been revealed. He asks the

Countess to choose between music and poetry, himselfand Olivier.^ Flamand passionately declares his love, awakenedthis afternoon by seeing the Countess. He presses herand she replies that she will have a response for himthe following morning at eleven. Flamand impetuouslykisses her and rushes out.& The Countess sits pensively in her chair while therehearsal continues in the theatre. She rings for herMajor-Domo and asks for chocolate.Scene VIII* The Count enters, excited by his encounter withClarion. The Countess mocks him and cautions himfrom going too far. She tells her brother that both thepoet and composer have declared their love for her:perhaps the result will be an opera. Pressed by hissister, the Count declares words as his choice. TheCountess wishes him luck with Clarion.Scene IX (part one)( Clarion, La Roche and Olivier enter in good spiritsfrom the theatre, followed by Flamand. Clarion praisesthe Count’s dramatic efforts, despite the Prompterfalling asleep. The Count asks her to stay for theevening but she has to return to Paris for anotherperformance. The Countess offers them somechocolate before departure, which La Rochewelcomes. ) (Dance 1: Passepied) As refreshments are served,three musicians and a young female dancer whom LaRoche lavishly praises, perform. Olivier praisesClarion.¡ (Dance 2: Gigue) Clarion assures Olivier that theirrelationship is finished.™ (Dance 3: Gavotte).£ The Count compliments the dancer, thanks themusicians and suggests to Flamand that his music hasan exquisite partner in dance, a sentiment whichFlamand rejects.¢ (Fugue: Discussion on the Theme: Words or Music)The assembled company launch into a discussion of

¶ Darf ich Sie nach Paris zurückbringen 1:25(Count, Clarion, Countess, Director, Olivier, Flamand)

CD 2 58:57

Scene IX (part two)1 Das Huldingungsfestspiel 1:53

(Director, Count, Flamand, Olivier, Countess, Clarion)

2 Octet, Part One: Laughing - Ensemble: Ein possierlicher Einfall! 1:08(Count, Olivier, Director, Clarion, Countess,Flamand, Tenor, Soprano)

3 Sie sehen uns überrascht von Ihrer Phantasie 1:25(Countess, Director, Flamand, Olivier)

4 Octet, Part Two: Dispute – Ensemble: Aber so hört doch! 2:39(Director, Olivier, Flamand, Count, Countess, Tenor, Soprano, Clarion)

5 Hola! ihr Streiter in Apoll! 2:53(Director)

6 Ich diene den ewigen Gesetzen des Theaters 3:12(Director)

7 Heute im Zenith meiner ruhmreichen Laufbahn 4:12(Director, Clarion, Olivier, Flamand, Soprano, Tenor)

8 Ihr hörtet die mahnende Stimme unseres Freudes! 2:54(Countess, Count, Clarion)

9 Was hebt sich göttergleich aus hohem Äther? 1:48(Countess, Olivier, Flamand, Clarion, Director, Count)

0 Nun gleich an die Arbeit 1:47(Director, Olivier, Flamand, Countess, Count)

! Ich wüsste ein äusserst fesselndes Thema! 4:16(Count, Director, Olivier, Flamand, Count,Countess, Clarion)Scene X

@ Gut in eure Mäntel gehüllt 2:05(Director, Count, A Servant, Clarion, Flamand, Olivier)Scene XI

# Das war ein schöner Lärm 4:10(Eight Servants)Scene XII

$ Herr Director! 4:09(Monsieur Taupe, Major-Domo)Scene XIII

% Andante con moto 3:29(Orchestra)

^ Wo ist mein Bruder? 1:28(Countess, Major-Domo)

& Morgen mittag um elf! 1:21(Countess)

* Kein Andres, das mir so im Herzen loht 4:14(Countess)

( Ihre Liebe schlägt mir entgegen 2:10(Countess)

) Wählst du den einen 5:25(Countess)

¡ Frau Gräfin, das Souper ist serviert 2:19(Major-Domo)


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the respective merits of words, music and the stage.∞ The Count remarks that they stand before the chasmof opera. Clarion is attracted by the idea, but why arethe words always worse than the music? The Countesspraises Gluck while the Count complains of recitativesand La Roche excoriates the orchestra, always noisy:bel canto is about to die! The Countess asks to hear LaRoche’s two Italian singers before it dies.§ The two Italian singers sing a duet in the Italianstyle, expressing grief with gaiety. The Countessqueries the appropriateness of music to text, while theCount praises the beauty of the music.¶ While the two Italian singers enjoy the refreshmentsprovided for them by the Countess, the Count asksClarion if he may accompany her to Paris, to which sheagrees, while querying the genuineness of hisdeclarations of love. The Countess, Flamand andOlivier press La Roche to reveal his programme for theevening.

CD 2

Scene IX (part two)1 La Roche announces the theme of his azioneteatrale for the following day. It will be in two parts.The first will present the allegory of ‘The Birth ofPallas Athene’. His colleagues start to make fun of himand of this proposal.2 (Octet: Part One: Laughing – Ensemble).The mockery of La Roche develops pace. While theCount ridicules La Roche, and the Italian sopranoenthuses about the cake, the Countess recognises thatthe Theatre Director is serious in his proposal and isoffended. She must mollify him.3 The Countess asks La Roche to bear with them,they are only amateurs. She enquires what the subjectof the second part of the spectacle will be. He proudlyannounces that it will portray ‘The Fall of Carthage’with great spectacle.4 (Octet: Part Two: Dispute – Ensemble). Flamand and Olivier’s ridicule of La Roche becomes

harsher. The Count looks on with amusement, theCountess expresses concern at Flamand and Olivier’scruelty, the Italian singers fear for the loss of their fee,and Clarion forecasts eventual victory for the wily oldTheatre Director.5 La Roche then powerfully both defends the theatreand attacks poet and composer for their immaturity. 6 He, La Roche, serves the eternal laws of drama,preserving the old while waiting for the new. He wantsto people the stage with real human beings, with theirsufferings and joys. If writers and composers cannotcreate them they should cease their petty criticisms.7 Without men such as he, where would the theatre betoday? He lives for the theatre and he will live on withglory in its history. Clarion rushes forward to embraceLa Roche, and the Count applauds him.8 The Countess steps forward and entreats all to worktogether to produce a work of art.9 Flamand, Olivier, Clarion and La Roche agree toput aside their differences, recognising the will of theCountess. The Count realises that the outcome will bean opera.0 La Roche encourages all to set to workimmediately. Flamand and Olivier search for possiblesubjects and suggest ‘Ariadne auf Naxos’ or ‘Daphne’[both set by Strauss], but La Roche is not enthusiastic.! The Count suggests that they write a work based onthe events of this day. The response from Flamand andOlivier is enthusiastic. La Roche is surprised andhesitant. Clarion once more prepares to leave for Paris,accompanied by La Roche. The Countess says good-bye to them all and retires. Scene X@ Clarion leaves with the Count. Flamand courteouslysuggest to Olivier that the words will have precedencein their new work, while Olivier insists that musicshould come first, while hoping aside that it will be theword. As they all depart La Roche reminds them of theimportance of good stage effects.Scene XI# Eight servants enter and put the salon in order,

CD 1 75:53

1 Prelude 7:29(Orchestra)Scene I

2 Bezaubernd ist sie heute wieder! 3:00(Flamand, Olivier)

3 Bei sanfter Musik schläft sich’s am besten 4:06(Director, Olivier, Flamand)

4 Eine schöne Heroine hast auch du nicht verschmäht! 2:35(Director, Flamand, Olivier)Scene II

5 Der Strom der Töne trug mich fort 4:35(Countess, Count)Scene III

6 Die Buhne ist fertig, wir können beginnen 1:35(Director, Count, Countess, Flamand, Olivier)Scene IV

7 Da ist sie! Ich eile, sie zu begrüssen 2:38(Count, Olivier, Director, Countess, Flamand, Clarion)

8 Ihr geht 1:27(Clarion, Count)

9 Kein Andres, das mir so im Herzen loht 2:06(Count, Clarion, Director)

0 Ein Philosoph schreitet seiner Bekehrung entgegen 2:17(Countess, Flamand, Olivier)Scene V

! Lassen Sie ihn gewähren 3:58(Countess, Olivier, Flamand)Scene VI

@ Kein Andres, das mir so im Herzen loht 2:18(Flamand)

# Trio: Des Dichters Worte 1:22(Countess, Olivier, Flamand)

$ Wie schön die Worte, kaum kenn’ ich sie wieder! 2:14(Countess, Olivier, Flamand, Director)Scene VII

% Verraten hab’ ich meine Gefühle! 1:43(Flamand, Countess)

^ Diese Liebe, plötzlich geboren an diesem Nachmittag 4:56(Flamand, Countess)

& Wir werden die Schokolade hier 2:28(Countess)Scene VIII

* Welch’ köstliche Begegnung! 2:38(Count, Countess)Scene IX

( Wir kehren zurück in die Welt des Salons 2:26(Director, Olivier, Clarion, Count, Countess)

) Dance I: Passepied / Was sagt Ihr! 2:31(Three Musicians, Director)

¡ Dance II: Gigue / Ich bin fest entschlossen 2:10(Three Musicians, Olivier, Clarion, Director)

™ Dance III: Gavotte 1:27(Three Musicians)

£ Eure Kunst entzückt und begeistert mich 0:47(Count, Flamand)

¢ Fugue – Discussion on the Theme:Words or Music: Tanz und Musik 3:20(Olivier, Flamand, Director, Count, Countess, Clarion)

∞ Das sagt Ihr jetzt, in dem Augenblick 4:51(Countess, Count, Clarion, Olivier, Flamand, Director)

§ Duet of the Italian Singers: Addio, mia vita, addio 3:30(Tenor, Soprano)


2 118.112034-35 8.112034-35

Great Opera Recordings Richard

STRAUSS(1864 -1949)

Capriccio (Op. 85)A Conversation Piece for Music in One Act

Libretto by Clemens Krauss

The Countess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elisabeth Schwarzkopf (soprano)The Count, her Brother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eberhard Wächter (baritone)Flamand, a Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nicolai Gedda (tenor)Olivier, a Poet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dietrich Fischer-Dieskau (baritone)La Roche, the Theatre Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hans Hotter (baritone)The Actress Clarion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christa Ludwig (mezzo-soprano)Monsieur Taupe, the Prompter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rudolf Christ (tenor)An Italian Soprano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anna Moffo (soprano)An Italian Tenor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dermot Troy (tenor)The Major-Domo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Karl Schmitt-Walter (baritone)A Servant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wolfgang Sawallisch (baritone)Eight Servants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edgar Fleet (tenor)

Dennis Wicks (bass)Ian Humphries (tenor)

John Hauxwell (baritone)Geoffrey Walls (tenor)

Lesley Fyson (tenor)Edward Darling (tenor)

David Winnard (bass)Three Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Manoug Parikian (violin)

Raymond Clark (cello)Raymond Leppard (harpsichord)


Recorded in Kingsway Hall, London, 2 - 7, 9 and 11 September, 1957 and 28 March, 1958First released on Columbia 33CX 1600 through 1602

Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

while commenting on what has just happened: theCount is out for a little adventure while the Countess isin love but does not know with whom. The Major-Domo urges them to hurry up: when they have haddinner they will be free. A voice is heard from thetheatre, calling for the Director.Scene XII$ Monsieur Taupe, the prompter, staggers in. In theface of the Major-Domo’s queries, he explains who heis and what he does. If he sleeps, the actors cease tospeak. The Major-Domo offers him supper and a coachback to Paris. Monsieur Taupe thanks him and askshimself if he is awake or dreaming.Scene XIII: Final scene% The stage is empty, the salon is in darkness, themoon shines onto the terrace. The Countess enters, andstands on the terrace, bathed in moonlight. The Major-Domo enters, and lights the candles assisted by twoother servants.^ The Countess asks where her brother is and theMajor-Domo tells her that the Count has accompaniedClarion to Paris. The Countess reflects on his carefreenature. The Major-Domo goes on to mention thatOlivier will come tomorrow morning to learn from the

Countess how the opera is to end. The Countess askswhen will he be coming and the Major-Domo replies ateleven o’clock.& The Countess is concerned: Flamand will besurprised to see Olivier rather than herself when hereturns tomorrow morning. She must decide whatmoves her most, words or music.* She recites the sonnet heard earlier, and realises thatit is fruitless to try to give precedence to words ormusic. They are inseparably bound together.( The Countess recognises that she herself is enfoldedwithin the love of Flamand and music, and Olivier andthe word. She is loved but cannot give herself.) If she chooses one, she loses the other. She looks inthe mirror and asks her image to help her find an endingfor the opera, which is not too trivial. ¡ The Major-Domo enters, to announce that dinner isserved. The Countess waves at her reflection with herfan and goes into the dining-room. The Major-Domo,amazed at her behaviour, watches her and then looksback at the mirror.

David Patmore


128.112034-35

R. STRAUSSCapriccio

Elisabeth Schwarzkopf · Eberhard Wächter · Nicolai GeddaDietrich Fischer-Dieskau · Hans Hotter · Christa Ludwig


1957 – 58 Recording

ELIS

ABETH SCHWARZKOPF

8.111011-13

8.111033-34 8.111145

Also Available

8.111014-15


Documents

R. STRAUSS - Naxos Music Library€¦ · 8.112034-35 211 8.112034-35 Great Opera Recordings Richard STRAUSS (1864 -1949) Capriccio (Op. 85) A Conversation Piece for Music in One Act