Customer Reviews

Strauss: Capriccio

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There have been a handful of perfect Opera recordings over the years. Perfection, of course, is a subjective judgement that can, if ill-used, incite violence. Particularly among Opera fans. Naturally, an Opera review that doesn't initiate gunplay is a good thing.

I mention it because I offer this 1957 recording of Capriccio as an example, extremely rare in the history of recorded Opera, of a perfect recording - a Reference recording, one of perhaps two dozen. Its status as a Reference recording is not controversial among serious record collectors. It assumed that mantle almost immediately after its release in 1959. But perfect? Nothing in Life is perfect!

True. But Art is NOT Life. Thankfully, what we find so disappointing, even tragic, in Life can be transmuted into perfection when Art achieves its most exalted fruition in the hands of those with a burning desire for self-expression and the unique means to do so. A tad pretentious? Maybe. But it so happens that Art is what this 1941 Opera - the last Strauss would write - is about. Art as Alchemy. The transformation of what is base and mundane into something meaningful and gloriously eternal. Something perfect! And almost as if on cue, Wolfgang Sawallisch and his stunning, impossible to ever replicate cast along with perhaps the greatest house band of the era, recorded an Opera about Artistic perfection... perfectly!

Nominally, this polemic written by Clemens Krauss offers a debate between Words and Music; each claiming supremacy in the Operatic Art. The Opera begins with a lovely string sextet played by the Orchestra: the beauty of the unaccompanied music making a strong case for its primacy. The Opera ends with the words of a sonnet, and a questioning gaze into a mirror by a Countess one cannot help but compare to two others inhabiting Der Rosenkavalier and Le Nozze di Figaro. Everywhere there is the struggle between the temporal and the eternal. It is this final scene with its suggestion of verbal temporality that ignited my suspicion that Strauss comes down on the side of Music as the eternal face of Operatic Art, the winner in the debate. You may not agree. This rich suggestiveness is just one of the reasons why Capriccio, alone among Struass' late Operas, is winning wide-spread acceptance into the repertory.

Sawallisch, merely 34 at the time of recording, exhibits exquisite taste in his textural delicacy. Tempos are broad yet firm. His time-beating clear, uncomplicated and comparable to the great Knappertsbusch. Instrumental and Vocal balances are exceptionally clear. His Orchestra, the Philharmonia, was possibly the best recording band of the 1950's and early 1960's. Incidentally, the superb Horn solos are NOT played by Dennis Brain, cruelly killed in an auto accident the day before recording commenced, but Alan Civil (Horn Soloist on the Beatles' "For No One" found on their 1966 album Revolver).

Elizabeth Schwarzkopf is superb as the Countess Madeleine, emotionally reserved without hauteur. Her voice had a clarion richness at the time. Lyrical, round yet soft, without the hint of shrillness one detects in later recordings. Eberhard Wachter is a terrific Count, a rough, unmusical womanizer. Nicolai Gedda is the Composer Flamand. A youngish Dietrich Fischer-Dieskau is Olivier the Poet, Flamand's verbal nemesis. Hans Hotter is suitably officious as La Roche, the Theatre Director, a parody of the famous Director Max Reinhardt with whom Clemens Krauss had worked in Vienna and Salzburg. Christa Ludwig is wonderful, as always, as Clairon, an Actress. Anna Moffo has a cameo as "an Italian Singer". This is a cast of which dreams are made! It cannot, will not ever be duplicated! The recording itself is subtext to the Opera. Perfection comes only rarely, if at all.

The 1957-58 recording, produced by the great Walter Legge, is in a warm, full and rich Mono. Yet Stereo recordings were available since 1953. Many (including me) have bemoaned the lack of a Stereo version of this once-in-a-lifetime production. Why was this recording not released in the newer and (allegedly) superior Stereophonic format? In previous reviews I have alluded to Legge's dislike for Stereo. Much (if not all - rumors abound) of this Opera was indeed recorded in Stereo. When "balance" issues (read that EGO) arose between several of the male leads, a Draconian "compromise" was reached, much to Legge's not-so-secret pleasure, in which it was decided to proceed in Mono and the existing Stereo tapes were destroyed. That must have been some squabble!

So this magnificent version of Capriccio is only available in a Mono format. Lately, however, I have stopped my whining about this and come to feel that Mono heightens the Chamber Music feel of the Opera. That it narrows the soundfield whilst simultaneously increasing its intimacy. In other words, it improves the overall experience. The sound is so good, the recording so well produced that the issue is moot. This is a recording you MUST have in your collection. It is one of those benchmark recordings by which all others are judged. You will hear what Humans can do when at their very best. You will sample perfection and the vision of the eternal that is the gift of all true Art.

When I first considered buying Capriccio to further my collection of Strauss, I was scared to buy this recording because it was done in mono and not in stereo. My fears were totally unjustified; the recording is great, and the sound is definitely vintage, but charming, sort of like an old movie. Everything is clear and mastered beautifully. The performance of Elisabeth Schwarzkopf is outstanding in every way, and the justly celebrated last scene is electrifying. The supporting cast is fine as well, and Sawallisch's conducting brought out things that I totally missed (and would now miss) in other accounts of this work. If you love Strauss, you can't afford not to spend the $25 dollars to get this recording. There's no reason not to: this is really one of the great recordings of the century--something that critics and musicians have agreed upon for years; it's now at mid-price instead of full-price (with full libretto, translations, and critical essays); and the mono sound is not an issue at all, but rather enhances the experience. Get it!

Strauss referred to his "Capriccio" as a "musical conversation piece", which may signal a red flag for many listeners. The "conversation" involves a debate: which is more important in musical art ---- words or music? And so the debate takes up a lot of time in the piece, which may prove very heavy going for many listeners who do not understand German. There are, however, many beautiful and interesting orchestral and vocal touches generated in this piece ---- none of which are sustained for any length of time. The final twenty minutes, however, does contain a beautiful and soaring scene for the soprano, which many may find worth the entire piece. For those still interested, it is definitely recommended that one follows the libretto to experience the full meaning of the piece. With that said, it must also be said that the cast of this recording is the greatest that could have ever been assembled for ANY opera ---- Strauss or otherwise. Schwarzkopf sings the last twenty five minute scene for all she's worth, which was a lot. Also on hand to lend their considerable and formidable talents are Nicolai Gedda, Christa Ludwig, Dietrich Fischer-Dieskau, Anna Moffo, Hans Hotter, and Eberhard Wachter, all of whom portray characters involved in the great debate about words versus music. This unique and interesting Strauss piece is not for everyone, but for those who are attuned to the Strauss idiom, this recording will provide an entertaining and highly individual experience. The remastered mono sound (there is no reason why this 1957 performance could not have been recorded in stereo) is clear and fine.

Schwarzkopf's performance is what I first noticed in this recording. She sings with such immense conviction, lyricism, beauty, power and grace that it is unbelievable. The twenty miunte scena at the conclusion is worth the price of the whole set. Strauss must have been totally inspired when he sat and penned this miraculous ending - a conclusion which in it's tremendous force seems to transcend the 18th century setting of the opera. It has a ring of truth about it which is surely the hall-mark for all great art. And after the Countess' departure you have that long orchestra coda full of that peculiarly Straussian tranquillity - immensely serene, almost omniscient -music that could only have been written by a composer in his twilight years. After noticing Schwarzkopf's brilliance it is only now that you take in the wonderful ensemble of performers. Ludwig, Hotter, Fischer-Dieskau etc. and above all Swallisch and the Philarmonia. Just listen to that sublime tutti passage which concludes the opera and which begins at 1.00 on Track 28 CD 2. The sound is perfectly acceptable - the orchestra is a little distant but the string tone is sweet and the voices are all brought out vividly. All in all something of a classic and no Straussian should be without it - as a performance it will never be equalled.

This kind of opera is the most rarified of the arts. It is a treasure for all the world, but it takes some effort to come to terms with it. Tastes more used to popular arts will likely not at first be able to appreciate the tremendous richness of this work. After all, there is no hero, no love story beyond some minor flirtations, and certainly no dramatic action to excite the passions. So, what is this work and why is it so wonderfully important?

This was the last opera of Richard Strauss and it is in every sense a masterwork. The composer set himself a terribly difficult task. Here we have Flamand, a composer, and Olivier, a poet who engage in a sometimes intellectual and sometimes petty discussion of which of their arts is primary. They are both enamored of the Countess who is a patron of the arts, used to being admired, and is not quick to reveal herself. Her brother, the Count, is interested in female talent and his acting is pedestrian, but he is complemented because of his position. There is also the director of their theater, La Rouche. He starts the opera asleep, but becomes quite agitated by the ongoing debate and declares that without his art, the other two would be meaningless.

There is so much in this opera that this little paragraph can only set up all the wonderful insights that Strauss provides. Serious opera is all sung? We get spoken drama (so Olivier can make his point). There are musical comments as well on the words spoken. Brief quotes of various styles emphasize this or that point as well as undermine others. It gets to the point that towards the end, the main characters have all left the stage and eight servants appear. One comments about all the pointless discussion. Another asks whether opera will get to the point where domestics will be put on stage.

The music in this opera is like a slow continuous crescendo of sophistication and intensity. Amazing things are happening when the texture becomes its most complex including the eating of cake, the drinking of wine, discussion of the ongoing themes of the opera, and commentary on the whole scene. It is all so masterfully handled that it provides musically stunning effects and clarifies the points being discussed in the opera with great sophistication.

The final extended aria by the Countess is exquisite beyond measure and sung transcendently by Elizabeth Schwarzkopf. She is asked to think of an end for their opera. She asks if there is one that is not trivial. The opera ends, so beautifully, with the major domo calling the Countess, saying, "Your Ladyship, supper is served." Perfect. And thus Strauss ended a mighty career in writing fifteen operas.

This recording was done in 1959 and is in mono. While stereo was available, squabbling among the performers about who would be where led to using mono to settle the matter. It still sounds terrific. The booklet provided is very helpful as is the provided libretto.

Some believe that this opera should be performed in a small hall in the language of the audience. I am not so sure. The sophistication of the underlay would be lost. Nowadays, most opera halls use supertitles and they help everyone understand the opera while retaining the beauty of expression in the original language.

Late Strauss is unfortunately underrecorded, but this shines out as a singular example of what should be done. Capriccio is 'a conversation piece for music', a refined and subtle discussion of the age-old argument. As an opera, it's not for everyone; fans of the overtly dramatic and loud probably won't get it. And you have to have the libretto in front unless your German is exceptionally good; and for the intricate octets, only a score will really do justice. This is one of those pieces that only gets better with repeated careful listening.
Fortunately, the cast is truly, truly first rate, full of great Straussians. This is a true ensemble opera, but with some long monologues. Schwartzkopf's light and flexible voice shines out as the Grafin, especially in the wonderful ending monologue. Of special note as well is Hans Hotter as La Roche; the man who would convince you he was God onstage sings wonderfully, especially in his monologue. This isn't even to mention Gedda, Fischer-Dieskau, Wachter, and the always lovely Ludwig. If you love great singing and warm music, pick this up.

Repeated evocation of the word "perfect" in descriptions of this recording convinced me to buy it, and even in the midst of such lofty praise, I was not disappointed. To the contrary; Capriccio is amongst the most incisive and beautiful operas ever crafted, combining the intelligence and perspicacity of a truly outstanding libretto with all the beauty and sublimity of which the mature Strauss was capable. It is an opera for opera lovers, a piece of musical virtuosity that not only delights the listener, but brings to light the question of the nature of art, the source of the profundity found in music and verse; it is an opera about the nature of opera, and art itself. Perhaps appropriately for an opera examining the ideals of the artistic form, the cast and production are here utterly flawless; Elizabeth Schwarzkopf gives as nuanced and breathtaking an interpretation of Strauss as only she could, and there isn't a single element in the performance that comes across as weak. Given the fact that in Capriccio, it is an intelligent and often hilariously mordant discourse on art that attains primacy rather than overarching drama or passion, it is admittedly not an opera for everyone. For those who truly love opera and art, those who are looking for something a bit different and more philosophic than typical operatic passion, despair, and suicide, those who are looking for the perfectly produced version of the perfectly crafted opera--one cannot do any better than this version of Capriccio. Buy it and enjoy the pinnacle of truly brilliant music.

Though two other great conductors (Bohm and Krauss) have also recorded this magnificent work, Sawallisch hit the nail on the head on Capriccio, so that there really is no competition for this recording of Strauss's final operatic paean to love (which was to be followed only by Strauss's supreme Four Last Songs).

Sawallisch (supported here by the immortal Elizabeth Schwarzkopf) captured like no one else Strauss's etherially joyous farewell at the end of a long and fulfilling life. Sawallisch starts the chamber-music opening "Sextet" whisperingly quiet, unlike Bohm, and especially unlike Krauss, and displays through to this opera's transfigurative finale a consistent mastery of the work's piannisimi and not only of the fortissimi. Unlike any other recording of this work, Sawallisch makes full use of the full range of the work's dynamics, so as to heighten the music's emotional impact. He does this without even a touch of sentimentality, and therefore Strauss's profound sentiments radiate forth with maximum intensity.

Every time I listen to these three recordings, I come back to Sawallisch as being the best of all available, if not as the best of all possible - it's so good it might be. All three of these competing recordings are noble, but only Sawallisch makes full and effective use of this work's dynamics to achieve maximum intensity.

Although Krauss and Bohm sometimes outperformed Sawallisch on other Strauss operas, they didn't even come close on Capriccio, and this is meant not as criticism of the fine recordings by both Krauss and Bohm, but instead as exceptional praise for this transcendant recording by Sawallisch.

If one's familiarity with Richard Strauss extends no further than the tone poems, Elektra, Salome and the Rosenkavalier, the lighter, almost Mozartian textures of Capriccio might come as a surprise. And one might even argue that Strauss' efforts towards making the music serve the text would be better served by a stronger libretto than this one. On the other hand, this is without the trace of a doubt an immensely musically rewarding work, if not as spectacularly so as some of his earlier works - it seems more to be a tribute to the song, the human voice, than a dramatic work per se.

And the performances given us here are quite simply outstanding. I do not need to say too much about Schwarzkopf, I guess, for her performance is simply stunningly gorgeous - perfect, even. Christa Ludwig is almost in the same league, sounding youthful and fresh-voiced. And Gedda and Wächter are full-voiced and full of character. Add to that the fiery depths of Fischer-Dieskau's Olivier, and you might have thought that this cast couldn't be bettered. And you might be right, but the one who in the end steals the show is Hans Hotter with a portrayal of La Roche which is so well acted out, so full of life and depth and so technically perfect it might just be unrivalled on record - and by that I mean unrivalled by any singer, in any role, anywhere, ever.

Add to that the gorgeously nuanced playing of the Philharmonia Orchestra and Sawallisch's sure-footed direction and you have one of the best operatic recordings ever made. It is old, sure, and mono, but EMI has really done a great job reducing hiss and saving the color of a recording that was very good for its age to begin with. A must.

Capriccio, one of the finest achievements of Richard Strauss' late flowering, is served well in this definitive recording. An impressive array of top quality singers is supported magnificantly by the spirited conducting of Wolfgang Sawallisch.

While the mono recording might be detrimental in the case of a larger scale work, in this intimate conversation piece its absence is hardly noticible. This re-issue is a welcome reminder of just how good Walter Legge's series of opera recordings by his Philharmonia Orchestra in the 1950s were; it is part of a valuable legacy, the like of which we are unlikely ever to receive again from a major record label.