Name: Capriccio
Start: 2012-10-04T00:00:00.000Z
End: 2013-02-01T00:00:00.000Z
Location: Novaya Opera Theatre

Organization

Soprano

Galina Badikovskaya

The Countess

Baritone

Artyom Garnov

The Count

Tenor

Martin Homrich

Flamand

Ilya Kuzmin

Olivier

Bass

Evgeny Stavinsky

La Roche

Contralto

Irina Romishevskaya

Clairon

Elena Terentieva

An Italian singer

Georgy Faradzhev

Igor Popelyaev

The Major-Domo

Conductor

Valery Kritskov

Stage director

Alla Chepinoga

Costume designer

Victor Gerasimenko

Set designer

Lighting designer

Aivar Salikhov

Chorus master

Yulia Senyukova

Novaya Opera

Capriccio

Moscow

Russia

Novaya Opera Theatre

Capriccio Strauss,R

Public

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Dancer

Actor

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Singer

Mezzo-soprano

Countertenor

Bass-baritone

Spoken

Child vocalist

Silent

Alto

Continuo

Capriccio (1941) is the last opera by Richard Strauss to a libretto by conductor Clemens Krauss, written with the participation of the composer according to the script plan of Stefan Zweig. This is an opera about opera, full of humor and witty musical jokes, the work of a master who has come a long way and reached his understanding of the art of opera (Strauss was 77 when he finished Capriccio). The love triangle becomes the reason for an original theatrical discussion about the role of word and sound in musical theater, about the purpose of the poet and composer in it. The main question that is contained in the Capriccio is the following: is the poetic word a source of inspiration for the composer or, conversely, is the musical imagination of the composer predetermining the words and actions with which it should associate itself? The discussion "What is more important in opera - words or music" was conducted for several centuries and worried Strauss himself. Developing the idea of "Capriccio", the composer wrote to the librettist: "It is necessary to create a witty dramatic paraphrase on the theme: first the word, then the music (Wagner), or first the music, then the word (Verdi), or only the words without music (Goethe), or only music without words (Mozart)."

Despite the fact that Capriccio touches on serious aesthetic issues, this opera is interesting and fascinating. The performance includes various types of musical and theatrical action: drama reading, a comic duet of Italian singers, a magnificent playing of a string sextet and even a ballet! The reason for the pleasure will be the spectacular sound of the Strauss orchestra, and the elegant atmosphere of the Countess's house. Capriccio has a lot of comic characters and funny situations. What, for example, is a drunken Italian soprano singer or an Italian tenor obsessed with the idea of getting his advance!

Strauss called his Capriccio "a lollipop for connoisseurs." A meticulous lover of opera art will be able to recognize in the creation of Strauss quotes and hints at the music of Rameau, Couperin, Gluck, Verdi, Wagner and, of course, Strauss himself, who created this fascinating musical cocktail. "Capriccio" is a mood, a whim, a quirk, a sudden idea, a witty statement of a great artist, summarizing once again the experience of a long life" (E. Krause).

The premiere of Capriccio at the Novaya Opera on October 4, 2012 is the first performance of this work in Russia.
Alla Chepinoga, director of the play:

"Capriccio" is a work unique in its nature, according to the author's definition, it is a "conversational play with music". Our performance is also unique: a combination of intellectual music and glamorous design, simple history and sophisticated interpretation... We tried to reveal the eternal theme – which was the first: the chicken or the egg, drama or music – in several theatrical languages at once. Metaphorical scenery, video installations, mask characters, elements of the theater of the absurd and many surprises await the viewer who came to the performance.

The theater, like the mirror, is a reflection of life, so we have a huge number of mirrors in the scenery, and what happens in the looking glass – in the depths of a woman's loving heart filled with art? The answer to this question will have to be solved in the finale of the play. 

Victor Gerasimenko, artist:

The smooth lines of the scenery for "Capriccio" are inspired by the music of the opera, which is distinguished by a certain smoothness and non-sharpness of the theme itself. There are no sharp conflicts, smooth conversation, conversation. Hence the plasticity of the interior, in the center of which is a staircase, the incompleteness of the lines, similar to how it is used in Modern. But there is no modernity either in the railings or in the decoration. I do not resort to stylization, but use a mixed style. Most likely, the decoration resembles a modern pavilion with a large number of mirrors. Why mirrors? Because in this opera there is "not real", the illusory nature of everything: a reflection of feelings, a reflection of love, a reflection of characters.

In scenography, a screen is used. This is like part of a modern interior: a certain pool with swimming fish is what rich people allow themselves today. And there's going to be something going on in that pool. What is still a mystery. It is a projection that will interact with reality.

Strauss's opera is designed for a refined audience, but I believe that such performances should be in the theater. It is works such as "Capriccio" that educate taste.

English

Capriccio by Strauss, šeš 20 spa 2012, Nuo (2012/2013), Režisierius Alla Chepinoga,, Dirigentas Valery Kritskov, Novaya Opera Theatre, Moscow, Russia

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