Name: Capriccio
Start: 2022-07-17T00:00:00.000Z
End: 2022-07-27T00:00:00.000Z
Location: Prinzregententheater

Organization

Münchner Opernfestspiele

Singer

Soprano

Diana Damrau

The Countess

Baritone

Michael Nagy

The Count

Tenor

Pavol Breslik

Flamand

Vito Priante

Olivier

Bass

Kristinn Sigmundsson

La Roche

Stage director

David Marton

Conductor

Lothar Koenigs

Lighting designer

Henning Streck

Costume designer

Pola Kardum

Set designer

Christian Friedländer

Dramaturge

Barbara Engelhardt

Katja Leclerc

Contralto

Tanja Ariane Baumgartner

Clairon

Deanna Breiwick

An Italian singer

Galeano Salas

Christian Oldenburg

The Major-Domo

Paul Kmetsch

Eight Servants

Dimitrios Karolidis

Leonhard Geiger

Hans Porten

Robin Neck

Christian Wilms

Leopold Bier

Gabriel Fortunas

Toby Spence

Monsieur Taupe

Other

Silent

Anna Henseler

A young dancer

Zuzana Zahradníková

Ute Vermehr

Leo Hussain

Bayerische Staatsoper

Orchestra

Bayerisches Staatsorchester

Capriccio

Munich

Germany

Prinzregententheater

Public

Private

Approved

Who can claim primacy in the opera? The libretto or the music? Richard Strauss poses this centuries-old question of principle at the end of his creativity at the heart of his conversational piece, “Capriccio”. Virtuously the libretto links the artistic discourse with the erotic entanglements of a countess in the Paris of Gluck's opera reform in the late 18th century. But of course how is Countess Madeleine to decide between her two suitors, poet Olivier and composer Flamand, and their arts, when in their fusion in particular the greatest beauty and supreme insight lie?

The musician grown wise with age once again draws a balance in a masterfully deceitful, narcotizing vexatious game with stylistic quotes from the entire of operatic history. But can there be something more unworldly as a self-thematization of opera on the opera stage in the belligerent Germany of 1942, in a time when the genocide of European Jews is at its worst? Director David Marton does not blend out the horror of the period of origin, and nevertheless respects the spirit of the work. His staging is a plea for the consolatory and protective power of art against the barbarity of reality

English

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