CAPRICCIO STRAUSS LIBRETTO PDF

WHEN Richard Strauss set out to write ''Capriccio'' his intention was ''to do something unusual, a treatise on dramaturgy, a theatrical fugue. Rarely does even the most avid Straussian run across this elegant dramatization of the old debate about the relative importance of words, music and theatrical effects in opera. One could only be grateful, therefore, for last night's performance at Carnegie Hall, the first in a Richard Strauss Opera Festival. Grateful for the careful preparation lavished on this connoisseur's delight, even if the cast was not a dream assemblage. Grateful for the ambitiousness of the semistaged production, if not invariably for the results.

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Remember me. It took up the quarrel waged in the 18th century by fans of the Italian composer Puccini, who advocated that words should reign supreme in opera, against the defenders of Gluck, for whom the music was pre-eminent. Out of this dry subject matter, Strauss created a magnificent work, crammed with musical and literary references, full of charm and intelligence, great lyricism and a startling vivacity.

Elegance and virtuosity, humour and sensitivity are scattered throughout the text and score of this masterpiece; Strauss put a great deal of himself and his own philosophical ponderings into it. In this case, it is impossible to choose between the respective merits of words and melody. In the 18th century, a coterie of artists is rehearsing a performance arranged for the birthday of the lovely young Countess Madeleine soprano , who was recently widowed.

Poet Olivier baritone and musician Flamand tenor are both in love with the Countess. This love rivalry is matched with an artistic divergence over the primacy of music or words in the opera.

La Roche the theatre director bass tries in vain to bring them together. They both perform the final love scene written by Olivier, the high point of the sonnet. Olivier, finding himself alone with Madeleine, professes his love for her. The poet then becomes angry, but he is interrupted by La Roche, who demands he attend the rehearsals. Flamand takes advantage of his absence to confess to the countess his passion for her; he asks her to choose between them.

She puts off answering until the following day. She confirms to her brother that she is unable to decide, while the friendly meeting continues with a dance performance. When La Roche announces the outline of the performance to come, a quarrel breaks out regarding the respective virtues of poetry, music and theatre.

Flamand and Olivier attack La Roche who fiercely defends his programme in a brilliant statement of his case. The countess tries to reconcile the parties by proposing that they join together to work on the same opera.

Better to sleep on it, as they say. Language Language. Connect Connect to your account. Community All comments Contributor list Columnist list.

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Opera Today

Capriccio , Op. Clemens Krauss and Strauss wrote the German libretto. However, the genesis of the libretto came from Stefan Zweig in the s, and Joseph Gregor further developed the idea several years later. Strauss then took on the libretto, but finally recruited Krauss as his collaborator on the opera. Most of the final libretto is by Krauss. The opera originally consisted of a single act lasting close to two and a half hours.

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MUSIC VIEW; COULD SUPERTITLES SOLVE THE 'CAPRICCIO' PROBLEM?

Remember me. It took up the quarrel waged in the 18th century by fans of the Italian composer Puccini, who advocated that words should reign supreme in opera, against the defenders of Gluck, for whom the music was pre-eminent. Out of this dry subject matter, Strauss created a magnificent work, crammed with musical and literary references, full of charm and intelligence, great lyricism and a startling vivacity. Elegance and virtuosity, humour and sensitivity are scattered throughout the text and score of this masterpiece; Strauss put a great deal of himself and his own philosophical ponderings into it. In this case, it is impossible to choose between the respective merits of words and melody. In the 18th century, a coterie of artists is rehearsing a performance arranged for the birthday of the lovely young Countess Madeleine soprano , who was recently widowed.

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Music composed by Wolfgang Amadeus Mozart — La Gioconda , dramma lirico in four acts. Music composed by Amilcare Ponchielli — Don Carlo , an opera in four acts. Music composed by Giuseppe Verdi — Un ballo in maschera , a melodramma in three acts. Music composed by Giuseppe Verdi.

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Capriccio - Capriccio

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