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R. STRAUSS Also Available

SCHW TH AR BE Z A K S O I P L F E

8.111011-13 8.111014-15

195 ing 7 – 58 Record

Elisabeth Schwarzkopf · Eberhard Wächter · Dietrich Fischer-Dieskau · · 8.111033-34 8.111145

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Great Recordings while commenting on what has just happened: the Countess how the opera is to end. The Countess asks Count is out for a little adventure while the Countess is when will he be coming and the Major-Domo replies at Richard in love but does not know with whom. The Major- eleven o’clock. STRAUSS Domo urges them to hurry up: when they have had & The Countess is concerned: Flamand will be (1864 -1949) dinner they will be free. A voice is heard from the surprised to see Olivier rather than herself when he theatre, calling for the Director. returns tomorrow morning. She must decide what Scene XII moves her most, words or music. Capriccio (Op. 85) $ Monsieur Taupe, the prompter, staggers in. In the * She recites the sonnet heard earlier, and realises that A Conversation Piece for Music in One Act face of the Major-Domo’s queries, he explains who he it is fruitless to try to give precedence to words or Libretto by is and what he does. If he sleeps, the actors cease to music. They are inseparably bound together. speak. The Major-Domo offers him supper and a coach ( The Countess recognises that she herself is enfolded back to Paris. Monsieur Taupe thanks him and asks within the love of Flamand and music, and Olivier and The Countess ...... () himself if he is awake or dreaming. the word. She is loved but cannot give herself. The Count, her Brother ...... Eberhard Wächter () Scene XIII: Final scene ) If she chooses one, she loses the other. She looks in Flamand, a Musician ...... Nicolai Gedda () % The stage is empty, the salon is in darkness, the the mirror and asks her image to help her find an ending Olivier, a Poet ...... Dietrich Fischer-Dieskau (baritone) moon shines onto the terrace. The Countess enters, and for the opera, which is not too trivial. La Roche, the Theatre Director ...... Hans Hotter (baritone) stands on the terrace, bathed in moonlight. The Major- ¡ The Major-Domo enters, to announce that dinner is The Actress Clarion ...... Christa Ludwig (mezzo-soprano) Domo enters, and lights the candles assisted by two served. The Countess waves at her reflection with her Monsieur Taupe, the Prompter ...... Rudolf Christ (tenor) other servants. fan and goes into the dining-room. The Major-Domo, An Italian Soprano ...... (soprano) ^ The Countess asks where her brother is and the amazed at her behaviour, watches her and then looks An Italian Tenor ...... Dermot Troy (tenor) Major-Domo tells her that the Count has accompanied back at the mirror. The Major-Domo ...... Karl Schmitt-Walter (baritone) Clarion to Paris. The Countess reflects on his carefree A Servant ...... Wolfgang Sawallisch (baritone) nature. The Major-Domo goes on to mention that David Patmore Eight Servants ...... Edgar Fleet (tenor) Olivier will come tomorrow morning to learn from the 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) Philharmonia Orchestra Wolfgang Sawallisch

Recorded in , London, 2 - 7, 9 and 11 September, 1957 and 28 March, 1958 First released on Columbia 33CX 1600 through 1602 Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

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the respective merits of words, music and the stage. harsher. The Count looks on with amusement, the CD 1 75:53 $ Wie schön die Worte, ∞ The Count remarks that they stand before the chasm Countess expresses concern at Flamand and Olivier’s kaum kenn’ ich sie wieder! 2:14 of opera. Clarion is attracted by the idea, but why are cruelty, the Italian singers fear for the loss of their fee, 1 Prelude 7:29 (Countess, Olivier, Flamand, Director) the words always worse than the music? The Countess and Clarion forecasts eventual victory for the wily old (Orchestra) Scene VII praises Gluck while the Count complains of recitatives Theatre Director. Scene I % Verraten hab’ ich meine Gefühle! 1:43 5 and La Roche excoriates the orchestra, always noisy: La Roche then powerfully both defends the theatre 2 Bezaubernd ist sie heute wieder! 3:00 (Flamand, Countess) bel canto is about to die! The Countess asks to hear La and attacks poet and composer for their immaturity. (Flamand, Olivier) ^ Diese Liebe, plötzlich geboren Roche’s two Italian singers before it dies. 6 He, La Roche, serves the eternal laws of drama, 3 Bei sanfter Musik schläft sich’s am besten 4:06 § The two Italian singers sing a duet in the Italian preserving the old while waiting for the new. He wants an diesem Nachmittag 4:56 style, expressing grief with gaiety. The Countess to people the stage with real human beings, with their (Director, Olivier, Flamand) (Flamand, Countess) queries the appropriateness of music to text, while the sufferings and joys. If writers and composers cannot 4 Eine schöne Heroine hast auch & Wir werden die Schokolade hier 2:28 Count praises the beauty of the music. create them they should cease their petty criticisms. du nicht verschmäht! 2:35 (Countess) ¶ While the two Italian singers enjoy the refreshments 7 Without men such as he, where would the theatre be (Director, Flamand, Olivier) Scene VIII provided for them by the Countess, the Count asks today? He lives for the theatre and he will live on with Scene II * Welch’ köstliche Begegnung! 2:38 Clarion if he may accompany her to Paris, to which she glory in its history. Clarion rushes forward to embrace 5 Der Strom der Töne trug mich fort 4:35 (Count, Countess) agrees, while querying the genuineness of his La Roche, and the Count applauds him. (Countess, Count) Scene IX declarations of love. The Countess, Flamand and 8 The Countess steps forward and entreats all to work Scene III ( Wir kehren zurück in die Welt des Salons 2:26 Olivier press La Roche to reveal his programme for the together to produce a work of art. 6 Die Buhne ist fertig, wir können beginnen 1:35 evening. 9 Flamand, Olivier, Clarion and La Roche agree to (Director, Olivier, Clarion, Count, Countess) put aside their differences, recognising the will of the (Director, Count, Countess, Flamand, Olivier) ) Dance I: Passepied / Was sagt Ihr! 2:31 CD 2 Countess. The Count realises that the outcome will be Scene IV (Three Musicians, Director) an opera. 7 Da ist sie! Ich eile, sie zu begrüssen 2:38 ¡ Dance II: Gigue / Ich bin fest entschlossen 2:10 Scene IX (part two) 0 La Roche encourages all to set to work (Count, Olivier, Director, Countess, (Three Musicians, Olivier, Clarion, Director) 1 La Roche announces the theme of his azione immediately. Flamand and Olivier search for possible Flamand, Clarion) ™ Dance III: Gavotte 1:27 teatrale for the following day. It will be in two parts. subjects and suggest ‘’ or ‘Daphne’ 8 Ihr geht 1:27 (Three Musicians) The first will present the allegory of ‘The Birth of [both set by Strauss], but La Roche is not enthusiastic. (Clarion, Count) £ Eure Kunst entzückt und begeistert mich 0:47 ! Pallas Athene’. His colleagues start to make fun of him The Count suggests that they write a work based on 9 Kein Andres, das mir so im Herzen loht 2:06 (Count, Flamand) and of this proposal. the events of this day. The response from Flamand and (Count, Clarion, Director) ¢ Fugue – Discussion on the Theme: 2 (Octet: Part One: Laughing – Ensemble). Olivier is enthusiastic. La Roche is surprised and 0 Ein Philosoph schreitet seiner The mockery of La Roche develops pace. While the hesitant. Clarion once more prepares to leave for Paris, Words or Music: Tanz und Musik 3:20 Count ridicules La Roche, and the Italian soprano accompanied by La Roche. The Countess says good- Bekehrung entgegen 2:17 (Olivier, Flamand, Director, Count, enthuses about the cake, the Countess recognises that bye to them all and retires. (Countess, Flamand, Olivier) Countess, Clarion) the Theatre Director is serious in his proposal and is Scene X Scene V ∞ Das sagt Ihr jetzt, in dem Augenblick 4:51 offended. She must mollify him. @ Clarion leaves with the Count. Flamand courteously ! Lassen Sie ihn gewähren 3:58 (Countess, Count, Clarion, Olivier, 3 The Countess asks La Roche to bear with them, suggest to Olivier that the words will have precedence (Countess, Olivier, Flamand) Flamand, Director) they are only amateurs. She enquires what the subject in their new work, while Olivier insists that music Scene VI § Duet of the Italian Singers: of the second part of the spectacle will be. He proudly should come first, while hoping aside that it will be the @ Kein Andres, das mir so im Herzen loht 2:18 Addio, mia vita, addio 3:30 announces that it will portray ‘The Fall of Carthage’ word. As they all depart La Roche reminds them of the (Flamand) (Tenor, Soprano) with great spectacle. importance of good stage effects. # Trio: Des Dichters Worte 1:22 4 (Octet: Part Two: Dispute – Ensemble). Scene XI Flamand and Olivier’s ridicule of La Roche becomes # Eight servants enter and put the salon in order, (Countess, Olivier, Flamand) 8.112034-35 10 3 8.112034-35 8.112034-35 bk Capriccio_EU 14-12-2009 10:08 Pagina 4

¶ Darf ich Sie nach Paris zurückbringen 1:25 9 Was hebt sich göttergleich She takes the script from the Countess’s hands and Countess to choose between music and poetry, himself (Count, Clarion, Countess, Director, aus hohem Äther? 1:48 ceremonially gives it to La Roche, asking him to start and Olivier. Olivier, Flamand) (Countess, Olivier, Flamand, Clarion, the preparations. As he departs with Clarion and the ^ Flamand passionately declares his love, awakened Director, Count) Count, La Roche asks Olivier to stay behind, as he this afternoon by seeing the Countess. He presses her CD 2 58:57 0 Nun gleich an die Arbeit 1:47 cannot have the Poet present at rehearsals. and she replies that she will have a response for him 0 The Countess watches them depart, commenting the following morning at eleven. Flamand impetuously (Director, Olivier, Flamand, Countess, Count) that Olivier’s writing was high-flown. Olivier replies kisses her and rushes out. Scene IX (part two) ! Ich wüsste ein äusserst fesselndes Thema! 4:16 that the Count’s delivery was not quite appropriate, & The Countess sits pensively in her chair while the 1 Das Huldingungsfestspiel 1:53 (Count, Director, Olivier, Flamand, Count, and launches into the same sonnet himself. As he rehearsal continues in the theatre. She rings for her (Director, Count, Flamand, Olivier, Countess, Clarion) speaks directly to her the Countess upbraids him for Major-Domo and asks for chocolate. Countess, Clarion) Scene X changing the person to whom the sonnet is addressed. Scene VIII 2 Octet, Part One: Laughing - Ensemble: @ Gut in eure Mäntel gehüllt 2:05 She suggests that is better not to proclaim love in * The Count enters, excited by his encounter with Ein possierlicher Einfall! 1:08 (Director, Count, A Servant, Clarion, public, and asks for Flamand’s agreement. He hurries Clarion. The Countess mocks him and cautions him out, saying that Olivier’s words have inspired music from going too far. She tells her brother that both the (Count, Olivier, Director, Clarion, Countess, Flamand, Olivier) which he can already hear in his mind. poet and composer have declared their love for her: Flamand, Tenor, Soprano) Scene XI Scene V perhaps the result will be an opera. Pressed by his 3 Sie sehen uns überrascht # Das war ein schöner Lärm 4:10 ! Olivier is concerned that his poetry will be ruined sister, the Count declares words as his choice. The von Ihrer Phantasie 1:25 (Eight Servants) through being set to music. He tells the Countess that Countess wishes him luck with Clarion. (Countess, Director, Flamand, Olivier) Scene XII he yearns for her, but she asks him to stand back – love Scene IX (part one) 4 Octet, Part Two: Dispute – Ensemble: $ Herr Director! 4:09 is a fire that needs constant fanning. She draws his ( Clarion, La Roche and Olivier enter in good spirits Aber so hört doch! 2:39 (Monsieur Taupe, Major-Domo) attention to Flamand, composing close by, and in from the theatre, followed by Flamand. Clarion praises (Director, Olivier, Flamand, Count, Scene XIII answer to Olivier’s queries about music replies that it the Count’s dramatic efforts, despite the Prompter awakens mysterious dreams and expresses hidden falling asleep. The Count asks her to stay for the Countess, Tenor, Soprano, Clarion) % Andante con moto 3:29 depths. As Olivier continues to press her, Flamand evening but she has to return to Paris for another 5 Hola! ihr Streiter in Apoll! 2:53 (Orchestra) rushes in with his latest composition. performance. The Countess offers them some (Director) ^ Wo ist mein Bruder? 1:28 Scene VI chocolate before departure, which La Roche 6 Ich diene den ewigen Gesetzen (Countess, Major-Domo) @ Flamand sings Olivier’s sonnet which he has just welcomes. des Theaters 3:12 & Morgen mittag um elf! 1:21 set to music. ) (Dance 1: Passepied) As refreshments are served, (Director) (Countess) # In a trio the Countess muses on the inextricable way three musicians and a young female dancer whom La 7 Heute im Zenith meiner * Kein Andres, das mir so im Herzen loht 4:14 in which words and music are joined, while Olivier Roche lavishly praises, perform. Olivier praises curses Flamand for ruining his verses, as Flamand Clarion. ruhmreichen Laufbahn 4:12 (Countess) continues to sing. ¡ (Dance 2: Gigue) Clarion assures Olivier that their ( (Director, Clarion, Olivier, Flamand, Ihre Liebe schlägt mir entgegen 2:10 $ The Countess reflects on how beautiful Olivier’s relationship is finished. Soprano, Tenor) (Countess) words now are, while Olivier wonders whether the ™ (Dance 3: Gavotte). 8 Ihr hörtet die mahnende Stimme ) Wählst du den einen 5:25 sonnet is still his. The Countess replies that it is hers. £ The Count compliments the dancer, thanks the unseres Freudes! 2:54 (Countess) La Roche enters, urgently requiring Olivier to agree to musicians and suggests to Flamand that his music has (Countess, Count, Clarion) ¡ Frau Gräfin, das Souper ist serviert 2:19 a cut in the text; the two exit. an exquisite partner in dance, a sentiment which (Major-Domo) Scene VII Flamand rejects. % Left alone with the Countess, Flamand declares that ¢ (Fugue: Discussion on the Theme: Words or Music) his true feelings have been revealed. He asks the The assembled company launch into a discussion of

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Capriccio Scene II (1864-1949): Synopsis 5 The Count and the Countess enter. The Countess Capriccio remarks that she has been carried away by the music. The death in 1929 of the Austrian writer Hugo von for a piece with one scene and without any dramatic The setting is the salon of a rococo castle overlooking a Her brother asks if she is attracted to Flamand. The Hofmannsthal represented a water-shed in Richard events.’ Krauss agreed, but nonetheless insisted. The park. To the left one door leads to the Countess’s salon, Countess replies that she finds it difficult to separate Strauss’s creative life. Hofmannsthal had been Strauss’s first performance took place on 28th October 1942 in and another to the dining-room; to the right another men from their works. The Count praises the dramatic close collaborator and the librettist of several of his , with Krauss conducting and his wife, the door leads to the stage of a private theatre. writing of Olivier, but his sister suggests that he is as most successful , most notably Der Romanian soprano , taking the central interested in the actress Clarion. The Count confesses to Rosenkavalier of 1911. Looking out for a new creative rôle of the Countess. ‘I can do no better’ Strauss said CD 1 being anxious having to act on the stage with her but the partner, Strauss came into contact with another afterwards. Immediately recognised as one of the Countess comments that his title will make up for any distinguished Austrian writer, Stefan Zweig. The two composer’s finest and most subtle works, Capriccio Prologue lack of talent. The Count presses her to declare a collaborated on the opera , first poses the central dilemma in opera: what is more 1 Prelude: As the curtain rises the Andante from a preference for words or music, Olivier or Flamand, but performed in Dresden in 1935 under difficult important, the words or the music? Like opera itself, the String Sextet is heard. It has been written by the she replies that choice would mean loss. The Count circumstances, Strauss having refused the Nazi demand Countess is unable to choose between poet and composer Flamand to mark the birthday of the young expresses his carefree attitude to life, while the for the writer’s name to be removed from posters composer. At the end she stands before her mirror, as widowed Countess, and is being played to her in her Countess is more circumspect: the joy of life is to advertising the opera, Zweig being Jewish. Zweig could the Marschallin had done many years before in the first salon. Both Flamand and the poet Olivier are standing acknowledge gladly and inwardly to yield. no longer work formally with Strauss but he continued act of , and cannot decide. The near to the door to her salon, listening attentively and Scene III to advise him. One of his suggestions for a possible Countess and Strauss, an expert at combining sensuality future operatic subject was an eighteenth-century and intellect in his operas, both take their leave without watching the Countess, while the Theatre Director La 6 La Roche, Flamand and Olivier re-enter: the stage is libretto parodying opera, Prima la musica, poi le parole an answer: ‘Words and sound have been blended to a Roche sits asleep in an armchair. now ready, and the programme for the Countess’s (First the music, then the words), by Casti (1724-1803), unity … to form something new. The secret of the hour Scene I birthday celebrations is settled: music by Flamand, a which had been set to music by Salieri. Following the – to salvage one art, by means of another.’ 2 Both Flamand and Olivier discover that they are in drama from Olivier, and a spectacular theatrical onset of war in 1939 Strauss became depressed: looking Sixteen years later, during 1957 and 1958, the EMI love with the Countess, and discuss which she will ‘Homage Play’ about which La Roche can reveal little for another opera subject after Daphne he returned to record producer produced this landmark prefer: words or music? They see themselves as loving at present. Zweig’s suggestion, and discussed it with another close recording of Capriccio in London for EMI’s Columbia enemies, friendly opponents. Scene IV colleague, the conductor and director of the Munich label, with his Philharmonia Orchestra. Having already 3 As the music ends softly the Theatre Director La 7 Clarion is seen in the park; the Count goes to Opera, Clemens Krauss. Strauss felt that Casti’s libretto achieved great critical and popular success with his Roche wakes up. He complains about the trials and welcome her, and presents her to the Countess. All sing would offer the opportunity ‘to do something unusual’, 1956 production of Der Rosenkavalier conducted by tribulations of mounting serious operas by composers Clarion’s praises, while she fears that they may be but who could fashion the libretto? Krauss initially and featuring his wife Elisabeth such as Gluck: endless rehearsals followed by failure. disappointed in her after such a warm welcome. She suggested that Strauss himself write it, having done so Schwarzkopf as the Marschallin, Legge cast By contrast composers such as Piccinni know their craft asks Olivier if he has finished his poem, which forms with Intermezzo, but the composer responded ‘I know Schwarzkopf once again in a central rôle of Capriccio, and appeal to the man in the street. The public wants part of the celebrations. He replies that he has just my limitations’. Instead he suggested that Krauss might as the Countess. He surrounded her with the finest flesh and blood characters on the stage, not remote completed a sonnet, while looking at the Countess. try. After some hesitation Krauss agreed and then set to singers of the day: from Vienna came Eberhard Wächter work enthusiastically: ‘the boss is writing poetry’ his and Christa Ludwig to sing the Countess’s brother the figures from the mythical past. Opera buffa is ideal, Clarion suggests that she and the Count should read it secretaries told visitors to his office. Work progressed Count and the actress Clarion. From Germany came with sparkling humour and feminine charm. together. quickly, with both artists collaborating closely: Strauss Dietrich Fischer-Dieskau and Hans Hotter – two heavy- 4 Flamand reminds Olivier of his earlier affair with the 8 Clarion and the Count read their parts. Clarion’s is himself contributed the central idea of a sonnet written weights of the post-war operatic stage – to sing the poet beautiful actress Clarion. Olivier confesses to admiring an impassioned farewell to her lover on his departure, by a poet and set to music by a composer for a countess Olivier and the Theatre Director La Roche. And from her talent still, while La Roche remarks that the Count, while the Count’s is similarly matched in intensity. with whom they are both in love. As the première Sweden came the mellifluous tenor, Nicolai Gedda, the Countess’s brother, is likely to replace Olivier in Clarion’s character fears that her lover’s affection may approached the question of an interval in the face of ideally cast as the musician Flamand. Conducting was Clarion’s affections. All three admire the Countess as fade, and asks him to swear to his love. enemy air-raids raised its head. Krauss recommended the young German maestro Wolfgang Sawallisch, with she prepares to enter; they themselves depart into the 9 The Counts recites a sonnet (taken from Ronsard) doing without. Strauss responded: ‘Just consider: the whom Legge had worked closely since 1954. One theatre, La Roche saying that his work as stage director declaring constancy in the most grandiose terms. first act of Götterdämmerung lasts two hours and has oddity about this recording was that it was recorded in now begins. Clarion congratulates the Count on his performance. several scenes. We, however, need two and a half hours monophonic rather than in stereophonic sound, which at 8.112034-35 85 8.112034-35 8.112034-35 bk Capriccio_EU 14-12-2009 10:08 Pagina 6

this time was generating increasing interest amongst different German opera houses she made her Salzburg title part in Aribert Reimann’s Lear, and from the Hans Hotter was born in Offenbach-am-Main in consumers and within the recording industry. The Festival début as Cherubino in Le nozze di Figaro in concert hall in 1992. 1909. He initally studied church music before turning reason for this probably lies in the summer 1957 1954, and first appeared at the Vienna Eberhard Wächter was born in 1929 in Vienna, to opera. He made his début in 1929 and sang in recording date, when EMI had few stereo recorders, during the following year. Between 1957 and 1970 she where he studied singing and made his début as Silvio Germany and the Czech Republic before joining the most of which may have been reserved for recording was married to the Austrian baritone Walter Berry. She in Pagliacci in 1953 at the Volksoper. He subsequently opera companies of Munich and Vienna in 1940. After sessions abroad. Legge himself was a slow convert to first sang at the , New York, as joined the , where he became a the Second World War he became recognised as one of stereo, telling the producer and conductor Dorabella in Così fan tutte in 1959, and at Covent central figure in the company. He made his débuts at the pre-eminent Wagner singers of his generation, and in late 1958, just before their Garden as Amneris in , in 1968. She had a wide as Count Almaviva in Le nozze di singing major rôles such as Wotan in Wagner’s Ring Viennese recording sessions for Decca of Das operatic repertoire, excelling in the music of Mozart and Figaro in 1956, at the as Amfortas in cycle at the Bayreuth Festival, Covent Garden, and Rheingold, that stereo would never catch on. This Strauss, and was also a noted recitalist, with a great in 1959, at , Milan as Count elsewhere. Towards the end of his career he created Wagner recording, however, exploited stereo understanding of the music of Mahler. She gave her Almaviva in 1960 and at the Metropolitan Opera, New penetrating studies of several character rôles, such as effectively and went on to achieve record sales in both final operatic performance as Clytemnestra in Strauss’s York, as Wolfram in Tannhäuser, in 1961. Between Schigolch in Berg’s . He died in 2003. America and England. Without the benefit of stereo in Vienna in 1994, and has subsequently 1987 and 1992 he was the manager of the Vienna Legge’s production of Capriccio was unable to hold its remained active as a teacher. Volksoper and from 1991 of the Vienna State Opera, David Patmore place in the catalogue for long: by the end of the 1960s Nicolai Gedda was born in in 1925 into until his unexpected death from a heart attack in 1992. it had been relegated to a record club label run by EMI. a Russian / Swedish family. After studying with the So great are its musical merits, however, that it has veteran tenor Carl Martin Öhman he made his début at subsequently come to be recognised as the masterpiece the in Adam’s Le postillon de that it is. Lonjumeau in 1952. By this time he had already sung Elisabeth Schwarzkopf was born near Poznaƒ in for Walter Legge, who quickly engaged him for 1915. She studied singing in Berlin with Maria Ivogün, numerous commercial recordings. His international and made her operatic stage début at the Berlin stage career developed rapidly, with débuts in 1953 at Staatsoper in 1938 as a Flower Maiden in Parsifal. La Scala, Milan, (Don Ottavio / ), in 1954 Following four years singing in Berlin, she joined the the Paris Opéra (the title rôle in Weber’s ) and Vienna State Opera in 1942. She made her first Covent Garden (the Duke / ), and in 1957 at appearance in the United Kingdom as Donna Elvira in the Metropolitan Opera in New York (the title rôle in Don Giovanni when this company visited Covent Gounod’s ). The master of a vast operatic and Garden in 1947. Her début at La Scala, Milan, took concert repertoire, he remained active until well into his place in 1950, and she returned there frequently to sing late seventies, recording the High Priest in in a wide range of rôles. In 1951 she created the part of 2003. Anne Trulove in Stravinsky’s The Rake’s Progress at Dietrich Fischer-Dieskau was born in 1925 in its Venice première. Her American début took place in Berlin, where he studied singing. He made his 1954 in San Francisco, as the Marschallin, a year after professional début in 1947, substituting for a sick her marriage to Walter Legge. During the 1960s she colleague as the baritone solo in Brahms’s German restricted her operatic appearances to just a handful of . This was quickly followed by his operatic Mozart and Strauss rôles, including the Countess in début as Posa in in 1948, also in Berlin. He Capriccio. She retired from the stage in 1971, but made his début in 1953 singing continued to give Lieder recitals. Following Legge’s Mahler with Furtwängler, by which time he was active death in 1979, she restricted herself to teaching. She as both an international opera singer and as a song died in 2006, having been made a Dame of the British recitalist. He was a regular at the Bayreuth Festival Empire (DBE) in 1992. between 1954 and 1961, and returned to Salzburg Christa Ludwig was born in Berlin in 1924. She frequently until the early 1970s. From 1973 he also studied with her mother and with Felice Huni-Mihaãek, conducted occasionally. He retired from opera in 1978, and made her début in 1946. After singing in several the year in which he recorded his final operatic rôle, the 8.112034-35 67 8.112034-35 8.112034-35 bk Capriccio_EU 14-12-2009 10:08 Pagina 6

this time was generating increasing interest amongst different German opera houses she made her Salzburg title part in Aribert Reimann’s Lear, and from the Hans Hotter was born in Offenbach-am-Main in consumers and within the recording industry. The Festival début as Cherubino in Le nozze di Figaro in concert hall in 1992. 1909. He initally studied church music before turning reason for this probably lies in the summer 1957 1954, and first appeared at the Vienna State Opera Eberhard Wächter was born in 1929 in Vienna, to opera. He made his début in 1929 and sang in recording date, when EMI had few stereo recorders, during the following year. Between 1957 and 1970 she where he studied singing and made his début as Silvio Germany and the Czech Republic before joining the most of which may have been reserved for recording was married to the Austrian baritone Walter Berry. She in Pagliacci in 1953 at the Volksoper. He subsequently opera companies of Munich and Vienna in 1940. After sessions abroad. Legge himself was a slow convert to first sang at the Metropolitan Opera, New York, as joined the Vienna State Opera, where he became a the Second World War he became recognised as one of stereo, telling the producer and conductor Georg Solti Dorabella in Così fan tutte in 1959, and at Covent central figure in the company. He made his débuts at the pre-eminent Wagner singers of his generation, and John Culshaw in late 1958, just before their Garden as Amneris in Aida, in 1968. She had a wide Covent Garden as Count Almaviva in Le nozze di singing major rôles such as Wotan in Wagner’s Ring Viennese recording sessions for Decca of Das operatic repertoire, excelling in the music of Mozart and Figaro in 1956, at the Bayreuth Festival as Amfortas in cycle at the Bayreuth Festival, Covent Garden, and Rheingold, that stereo would never catch on. This Strauss, and was also a noted recitalist, with a great Parsifal in 1959, at La Scala, Milan as Count elsewhere. Towards the end of his career he created Wagner recording, however, exploited stereo understanding of the music of Mahler. She gave her Almaviva in 1960 and at the Metropolitan Opera, New penetrating studies of several character rôles, such as effectively and went on to achieve record sales in both final operatic performance as Clytemnestra in Strauss’s York, as Wolfram in Tannhäuser, in 1961. Between Schigolch in Berg’s Lulu. He died in 2003. America and England. Without the benefit of stereo Elektra in Vienna in 1994, and has subsequently 1987 and 1992 he was the manager of the Vienna Legge’s production of Capriccio was unable to hold its remained active as a teacher. Volksoper and from 1991 of the Vienna State Opera, David Patmore place in the catalogue for long: by the end of the 1960s Nicolai Gedda was born in Stockholm in 1925 into until his unexpected death from a heart attack in 1992. it had been relegated to a record club label run by EMI. a Russian / Swedish family. After studying with the So great are its musical merits, however, that it has veteran tenor Carl Martin Öhman he made his début at subsequently come to be recognised as the masterpiece the Royal Swedish Opera in Adam’s Le postillon de that it is. Lonjumeau in 1952. By this time he had already sung Elisabeth Schwarzkopf was born near Poznaƒ in for Walter Legge, who quickly engaged him for 1915. She studied singing in Berlin with Maria Ivogün, numerous commercial recordings. His international and made her operatic stage début at the Berlin stage career developed rapidly, with débuts in 1953 at Staatsoper in 1938 as a Flower Maiden in Parsifal. La Scala, Milan, (Don Ottavio / Don Giovanni), in 1954 Following four years singing in Berlin, she joined the the Paris Opéra (the title rôle in Weber’s Oberon) and Vienna State Opera in 1942. She made her first Covent Garden (the Duke / Rigoletto), and in 1957 at appearance in the United Kingdom as Donna Elvira in the Metropolitan Opera in New York (the title rôle in Don Giovanni when this company visited Covent Gounod’s Faust). The master of a vast operatic and Garden in 1947. Her début at La Scala, Milan, took concert repertoire, he remained active until well into his place in 1950, and she returned there frequently to sing late seventies, recording the High Priest in Idomeneo in a wide range of rôles. In 1951 she created the part of 2003. Anne Trulove in Stravinsky’s The Rake’s Progress at Dietrich Fischer-Dieskau was born in 1925 in its Venice première. Her American début took place in Berlin, where he studied singing. He made his 1954 in San Francisco, as the Marschallin, a year after professional début in 1947, substituting for a sick her marriage to Walter Legge. During the 1960s she colleague as the baritone solo in Brahms’s German restricted her operatic appearances to just a handful of Requiem. This was quickly followed by his operatic Mozart and Strauss rôles, including the Countess in début as Posa in Don Carlos in 1948, also in Berlin. He Capriccio. She retired from the stage in 1971, but made his Salzburg Festival début in 1953 singing continued to give Lieder recitals. Following Legge’s Mahler with Furtwängler, by which time he was active death in 1979, she restricted herself to teaching. She as both an international opera singer and as a song died in 2006, having been made a Dame of the British recitalist. He was a regular at the Bayreuth Festival Empire (DBE) in 1992. between 1954 and 1961, and returned to Salzburg Christa Ludwig was born in Berlin in 1924. She frequently until the early 1970s. From 1973 he also studied with her mother and with Felice Huni-Mihaãek, conducted occasionally. 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Capriccio Scene II Richard Strauss (1864-1949): Synopsis 5 The Count and the Countess enter. The Countess Capriccio remarks that she has been carried away by the music. The death in 1929 of the Austrian writer Hugo von for a piece with one scene and without any dramatic The setting is the salon of a rococo castle overlooking a Her brother asks if she is attracted to Flamand. The Hofmannsthal represented a water-shed in Richard events.’ Krauss agreed, but nonetheless insisted. The park. To the left one door leads to the Countess’s salon, Countess replies that she finds it difficult to separate Strauss’s creative life. Hofmannsthal had been Strauss’s first performance took place on 28th October 1942 in and another to the dining-room; to the right another men from their works. The Count praises the dramatic close collaborator and the librettist of several of his Munich, with Krauss conducting and his wife, the door leads to the stage of a private theatre. writing of Olivier, but his sister suggests that he is as most successful operas, most notably Der Romanian soprano Viorica Ursuleac, taking the central interested in the actress Clarion. The Count confesses to Rosenkavalier of 1911. Looking out for a new creative rôle of the Countess. ‘I can do no better’ Strauss said CD 1 being anxious having to act on the stage with her but the partner, Strauss came into contact with another afterwards. Immediately recognised as one of the Countess comments that his title will make up for any distinguished Austrian writer, Stefan Zweig. The two composer’s finest and most subtle works, Capriccio Prologue lack of talent. The Count presses her to declare a collaborated on the opera Die schweigsame Frau, first poses the central dilemma in opera: what is more 1 Prelude: As the curtain rises the Andante from a preference for words or music, Olivier or Flamand, but performed in Dresden in 1935 under difficult important, the words or the music? Like opera itself, the String Sextet is heard. It has been written by the she replies that choice would mean loss. The Count circumstances, Strauss having refused the Nazi demand Countess is unable to choose between poet and composer Flamand to mark the birthday of the young expresses his carefree attitude to life, while the for the writer’s name to be removed from posters composer. At the end she stands before her mirror, as widowed Countess, and is being played to her in her Countess is more circumspect: the joy of life is to advertising the opera, Zweig being Jewish. Zweig could the Marschallin had done many years before in the first salon. Both Flamand and the poet Olivier are standing acknowledge gladly and inwardly to yield. no longer work formally with Strauss but he continued act of Der Rosenkavalier, and cannot decide. The near to the door to her salon, listening attentively and Scene III to advise him. One of his suggestions for a possible Countess and Strauss, an expert at combining sensuality future operatic subject was an eighteenth-century and intellect in his operas, both take their leave without watching the Countess, while the Theatre Director La 6 La Roche, Flamand and Olivier re-enter: the stage is libretto parodying opera, Prima la musica, poi le parole an answer: ‘Words and sound have been blended to a Roche sits asleep in an armchair. now ready, and the programme for the Countess’s (First the music, then the words), by Casti (1724-1803), unity … to form something new. The secret of the hour Scene I birthday celebrations is settled: music by Flamand, a which had been set to music by Salieri. Following the – to salvage one art, by means of another.’ 2 Both Flamand and Olivier discover that they are in drama from Olivier, and a spectacular theatrical onset of war in 1939 Strauss became depressed: looking Sixteen years later, during 1957 and 1958, the EMI love with the Countess, and discuss which she will ‘Homage Play’ about which La Roche can reveal little for another opera subject after Daphne he returned to record producer Walter Legge produced this landmark prefer: words or music? They see themselves as loving at present. Zweig’s suggestion, and discussed it with another close recording of Capriccio in London for EMI’s Columbia enemies, friendly opponents. Scene IV colleague, the conductor and director of the Munich label, with his Philharmonia Orchestra. Having already 3 As the music ends softly the Theatre Director La 7 Clarion is seen in the park; the Count goes to Opera, Clemens Krauss. Strauss felt that Casti’s libretto achieved great critical and popular success with his Roche wakes up. He complains about the trials and welcome her, and presents her to the Countess. All sing would offer the opportunity ‘to do something unusual’, 1956 production of Der Rosenkavalier conducted by tribulations of mounting serious operas by composers Clarion’s praises, while she fears that they may be but who could fashion the libretto? Krauss initially Herbert von Karajan and featuring his wife Elisabeth such as Gluck: endless rehearsals followed by failure. disappointed in her after such a warm welcome. She suggested that Strauss himself write it, having done so Schwarzkopf as the Marschallin, Legge cast By contrast composers such as Piccinni know their craft asks Olivier if he has finished his poem, which forms with Intermezzo, but the composer responded ‘I know Schwarzkopf once again in a central rôle of Capriccio, and appeal to the man in the street. The public wants part of the celebrations. He replies that he has just my limitations’. Instead he suggested that Krauss might as the Countess. He surrounded her with the finest flesh and blood characters on the stage, not remote completed a sonnet, while looking at the Countess. try. After some hesitation Krauss agreed and then set to singers of the day: from Vienna came Eberhard Wächter work enthusiastically: ‘the boss is writing poetry’ his and Christa Ludwig to sing the Countess’s brother the figures from the mythical past. Opera buffa is ideal, Clarion suggests that she and the Count should read it secretaries told visitors to his office. Work progressed Count and the actress Clarion. From Germany came with sparkling humour and feminine charm. together. quickly, with both artists collaborating closely: Strauss Dietrich Fischer-Dieskau and Hans Hotter – two heavy- 4 Flamand reminds Olivier of his earlier affair with the 8 Clarion and the Count read their parts. Clarion’s is himself contributed the central idea of a sonnet written weights of the post-war operatic stage – to sing the poet beautiful actress Clarion. Olivier confesses to admiring an impassioned farewell to her lover on his departure, by a poet and set to music by a composer for a countess Olivier and the Theatre Director La Roche. And from her talent still, while La Roche remarks that the Count, while the Count’s is similarly matched in intensity. with whom they are both in love. As the première Sweden came the mellifluous tenor, Nicolai Gedda, the Countess’s brother, is likely to replace Olivier in Clarion’s character fears that her lover’s affection may approached the question of an interval in the face of ideally cast as the musician Flamand. Conducting was Clarion’s affections. All three admire the Countess as fade, and asks him to swear to his love. enemy air-raids raised its head. Krauss recommended the young German maestro Wolfgang Sawallisch, with she prepares to enter; they themselves depart into the 9 The Counts recites a sonnet (taken from Ronsard) doing without. Strauss responded: ‘Just consider: the whom Legge had worked closely since 1954. One theatre, La Roche saying that his work as stage director declaring constancy in the most grandiose terms. first act of Götterdämmerung lasts two hours and has oddity about this recording was that it was recorded in now begins. Clarion congratulates the Count on his performance. several scenes. We, however, need two and a half hours monophonic rather than in stereophonic sound, which at 8.112034-35 85 8.112034-35 8.112034-35 bk Capriccio_EU 14-12-2009 10:08 Pagina 4

¶ Darf ich Sie nach Paris zurückbringen 1:25 9 Was hebt sich göttergleich She takes the script from the Countess’s hands and Countess to choose between music and poetry, himself (Count, Clarion, Countess, Director, aus hohem Äther? 1:48 ceremonially gives it to La Roche, asking him to start and Olivier. Olivier, Flamand) (Countess, Olivier, Flamand, Clarion, the preparations. As he departs with Clarion and the ^ Flamand passionately declares his love, awakened Director, Count) Count, La Roche asks Olivier to stay behind, as he this afternoon by seeing the Countess. He presses her CD 2 58:57 0 Nun gleich an die Arbeit 1:47 cannot have the Poet present at rehearsals. and she replies that she will have a response for him 0 The Countess watches them depart, commenting the following morning at eleven. Flamand impetuously (Director, Olivier, Flamand, Countess, Count) that Olivier’s writing was high-flown. Olivier replies kisses her and rushes out. Scene IX (part two) ! Ich wüsste ein äusserst fesselndes Thema! 4:16 that the Count’s delivery was not quite appropriate, & The Countess sits pensively in her chair while the 1 Das Huldingungsfestspiel 1:53 (Count, Director, Olivier, Flamand, Count, and launches into the same sonnet himself. As he rehearsal continues in the theatre. She rings for her (Director, Count, Flamand, Olivier, Countess, Clarion) speaks directly to her the Countess upbraids him for Major-Domo and asks for chocolate. Countess, Clarion) Scene X changing the person to whom the sonnet is addressed. Scene VIII 2 Octet, Part One: Laughing - Ensemble: @ Gut in eure Mäntel gehüllt 2:05 She suggests that is better not to proclaim love in * The Count enters, excited by his encounter with Ein possierlicher Einfall! 1:08 (Director, Count, A Servant, Clarion, public, and asks for Flamand’s agreement. He hurries Clarion. The Countess mocks him and cautions him out, saying that Olivier’s words have inspired music from going too far. She tells her brother that both the (Count, Olivier, Director, Clarion, Countess, Flamand, Olivier) which he can already hear in his mind. poet and composer have declared their love for her: Flamand, Tenor, Soprano) Scene XI Scene V perhaps the result will be an opera. Pressed by his 3 Sie sehen uns überrascht # Das war ein schöner Lärm 4:10 ! Olivier is concerned that his poetry will be ruined sister, the Count declares words as his choice. The von Ihrer Phantasie 1:25 (Eight Servants) through being set to music. He tells the Countess that Countess wishes him luck with Clarion. (Countess, Director, Flamand, Olivier) Scene XII he yearns for her, but she asks him to stand back – love Scene IX (part one) 4 Octet, Part Two: Dispute – Ensemble: $ Herr Director! 4:09 is a fire that needs constant fanning. She draws his ( Clarion, La Roche and Olivier enter in good spirits Aber so hört doch! 2:39 (Monsieur Taupe, Major-Domo) attention to Flamand, composing close by, and in from the theatre, followed by Flamand. Clarion praises (Director, Olivier, Flamand, Count, Scene XIII answer to Olivier’s queries about music replies that it the Count’s dramatic efforts, despite the Prompter awakens mysterious dreams and expresses hidden falling asleep. The Count asks her to stay for the Countess, Tenor, Soprano, Clarion) % Andante con moto 3:29 depths. As Olivier continues to press her, Flamand evening but she has to return to Paris for another 5 Hola! ihr Streiter in Apoll! 2:53 (Orchestra) rushes in with his latest composition. performance. The Countess offers them some (Director) ^ Wo ist mein Bruder? 1:28 Scene VI chocolate before departure, which La Roche 6 Ich diene den ewigen Gesetzen (Countess, Major-Domo) @ Flamand sings Olivier’s sonnet which he has just welcomes. des Theaters 3:12 & Morgen mittag um elf! 1:21 set to music. ) (Dance 1: Passepied) As refreshments are served, (Director) (Countess) # In a trio the Countess muses on the inextricable way three musicians and a young female dancer whom La 7 Heute im Zenith meiner * Kein Andres, das mir so im Herzen loht 4:14 in which words and music are joined, while Olivier Roche lavishly praises, perform. Olivier praises curses Flamand for ruining his verses, as Flamand Clarion. ruhmreichen Laufbahn 4:12 (Countess) continues to sing. ¡ (Dance 2: Gigue) Clarion assures Olivier that their ( (Director, Clarion, Olivier, Flamand, Ihre Liebe schlägt mir entgegen 2:10 $ The Countess reflects on how beautiful Olivier’s relationship is finished. Soprano, Tenor) (Countess) words now are, while Olivier wonders whether the ™ (Dance 3: Gavotte). 8 Ihr hörtet die mahnende Stimme ) Wählst du den einen 5:25 sonnet is still his. The Countess replies that it is hers. £ The Count compliments the dancer, thanks the unseres Freudes! 2:54 (Countess) La Roche enters, urgently requiring Olivier to agree to musicians and suggests to Flamand that his music has (Countess, Count, Clarion) ¡ Frau Gräfin, das Souper ist serviert 2:19 a cut in the text; the two exit. an exquisite partner in dance, a sentiment which (Major-Domo) Scene VII Flamand rejects. % Left alone with the Countess, Flamand declares that ¢ (Fugue: Discussion on the Theme: Words or Music) his true feelings have been revealed. He asks the The assembled company launch into a discussion of

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the respective merits of words, music and the stage. harsher. The Count looks on with amusement, the CD 1 75:53 $ Wie schön die Worte, ∞ The Count remarks that they stand before the chasm Countess expresses concern at Flamand and Olivier’s kaum kenn’ ich sie wieder! 2:14 of opera. Clarion is attracted by the idea, but why are cruelty, the Italian singers fear for the loss of their fee, 1 Prelude 7:29 (Countess, Olivier, Flamand, Director) the words always worse than the music? The Countess and Clarion forecasts eventual victory for the wily old (Orchestra) Scene VII praises Gluck while the Count complains of recitatives Theatre Director. Scene I % Verraten hab’ ich meine Gefühle! 1:43 5 and La Roche excoriates the orchestra, always noisy: La Roche then powerfully both defends the theatre 2 Bezaubernd ist sie heute wieder! 3:00 (Flamand, Countess) bel canto is about to die! The Countess asks to hear La and attacks poet and composer for their immaturity. (Flamand, Olivier) ^ Diese Liebe, plötzlich geboren Roche’s two Italian singers before it dies. 6 He, La Roche, serves the eternal laws of drama, 3 Bei sanfter Musik schläft sich’s am besten 4:06 § The two Italian singers sing a duet in the Italian preserving the old while waiting for the new. He wants an diesem Nachmittag 4:56 style, expressing grief with gaiety. The Countess to people the stage with real human beings, with their (Director, Olivier, Flamand) (Flamand, Countess) queries the appropriateness of music to text, while the sufferings and joys. If writers and composers cannot 4 Eine schöne Heroine hast auch & Wir werden die Schokolade hier 2:28 Count praises the beauty of the music. create them they should cease their petty criticisms. du nicht verschmäht! 2:35 (Countess) ¶ While the two Italian singers enjoy the refreshments 7 Without men such as he, where would the theatre be (Director, Flamand, Olivier) Scene VIII provided for them by the Countess, the Count asks today? He lives for the theatre and he will live on with Scene II * Welch’ köstliche Begegnung! 2:38 Clarion if he may accompany her to Paris, to which she glory in its history. Clarion rushes forward to embrace 5 Der Strom der Töne trug mich fort 4:35 (Count, Countess) agrees, while querying the genuineness of his La Roche, and the Count applauds him. (Countess, Count) Scene IX declarations of love. The Countess, Flamand and 8 The Countess steps forward and entreats all to work Scene III ( Wir kehren zurück in die Welt des Salons 2:26 Olivier press La Roche to reveal his programme for the together to produce a work of art. 6 Die Buhne ist fertig, wir können beginnen 1:35 evening. 9 Flamand, Olivier, Clarion and La Roche agree to (Director, Olivier, Clarion, Count, Countess) put aside their differences, recognising the will of the (Director, Count, Countess, Flamand, Olivier) ) Dance I: Passepied / Was sagt Ihr! 2:31 CD 2 Countess. The Count realises that the outcome will be Scene IV (Three Musicians, Director) an opera. 7 Da ist sie! Ich eile, sie zu begrüssen 2:38 ¡ Dance II: Gigue / Ich bin fest entschlossen 2:10 Scene IX (part two) 0 La Roche encourages all to set to work (Count, Olivier, Director, Countess, (Three Musicians, Olivier, Clarion, Director) 1 La Roche announces the theme of his azione immediately. Flamand and Olivier search for possible Flamand, Clarion) ™ Dance III: Gavotte 1:27 teatrale for the following day. It will be in two parts. subjects and suggest ‘Ariadne auf Naxos’ or ‘Daphne’ 8 Ihr geht 1:27 (Three Musicians) The first will present the allegory of ‘The Birth of [both set by Strauss], but La Roche is not enthusiastic. (Clarion, Count) £ Eure Kunst entzückt und begeistert mich 0:47 ! Pallas Athene’. His colleagues start to make fun of him The Count suggests that they write a work based on 9 Kein Andres, das mir so im Herzen loht 2:06 (Count, Flamand) and of this proposal. the events of this day. The response from Flamand and (Count, Clarion, Director) ¢ Fugue – Discussion on the Theme: 2 (Octet: Part One: Laughing – Ensemble). Olivier is enthusiastic. La Roche is surprised and 0 Ein Philosoph schreitet seiner The mockery of La Roche develops pace. While the hesitant. Clarion once more prepares to leave for Paris, Words or Music: Tanz und Musik 3:20 Count ridicules La Roche, and the Italian soprano accompanied by La Roche. The Countess says good- Bekehrung entgegen 2:17 (Olivier, Flamand, Director, Count, enthuses about the cake, the Countess recognises that bye to them all and retires. (Countess, Flamand, Olivier) Countess, Clarion) the Theatre Director is serious in his proposal and is Scene X Scene V ∞ Das sagt Ihr jetzt, in dem Augenblick 4:51 offended. She must mollify him. @ Clarion leaves with the Count. Flamand courteously ! Lassen Sie ihn gewähren 3:58 (Countess, Count, Clarion, Olivier, 3 The Countess asks La Roche to bear with them, suggest to Olivier that the words will have precedence (Countess, Olivier, Flamand) Flamand, Director) they are only amateurs. She enquires what the subject in their new work, while Olivier insists that music Scene VI § Duet of the Italian Singers: of the second part of the spectacle will be. He proudly should come first, while hoping aside that it will be the @ Kein Andres, das mir so im Herzen loht 2:18 Addio, mia vita, addio 3:30 announces that it will portray ‘The Fall of Carthage’ word. As they all depart La Roche reminds them of the (Flamand) (Tenor, Soprano) with great spectacle. importance of good stage effects. # Trio: Des Dichters Worte 1:22 4 (Octet: Part Two: Dispute – Ensemble). Scene XI Flamand and Olivier’s ridicule of La Roche becomes # Eight servants enter and put the salon in order, (Countess, Olivier, Flamand) 8.112034-35 10 3 8.112034-35 8.112034-35 bk Capriccio_EU 14-12-2009 10:08 Pagina 2

Great Opera Recordings while commenting on what has just happened: the Countess how the opera is to end. The Countess asks Count is out for a little adventure while the Countess is when will he be coming and the Major-Domo replies at Richard in love but does not know with whom. The Major- eleven o’clock. STRAUSS Domo urges them to hurry up: when they have had & The Countess is concerned: Flamand will be (1864 -1949) dinner they will be free. A voice is heard from the surprised to see Olivier rather than herself when he theatre, calling for the Director. returns tomorrow morning. She must decide what Scene XII moves her most, words or music. Capriccio (Op. 85) $ Monsieur Taupe, the prompter, staggers in. In the * She recites the sonnet heard earlier, and realises that A Conversation Piece for Music in One Act face of the Major-Domo’s queries, he explains who he it is fruitless to try to give precedence to words or Libretto by Clemens Krauss is and what he does. If he sleeps, the actors cease to music. They are inseparably bound together. speak. The Major-Domo offers him supper and a coach ( The Countess recognises that she herself is enfolded back to Paris. Monsieur Taupe thanks him and asks within the love of Flamand and music, and Olivier and The Countess ...... Elisabeth Schwarzkopf (soprano) himself if he is awake or dreaming. the word. She is loved but cannot give herself. The Count, her Brother ...... Eberhard Wächter (baritone) Scene XIII: Final scene ) If she chooses one, she loses the other. She looks in Flamand, a Musician ...... Nicolai Gedda (tenor) % The stage is empty, the salon is in darkness, the the mirror and asks her image to help her find an ending Olivier, a Poet ...... Dietrich Fischer-Dieskau (baritone) moon shines onto the terrace. The Countess enters, and for the opera, which is not too trivial. La Roche, the Theatre Director ...... Hans Hotter (baritone) stands on the terrace, bathed in moonlight. The Major- ¡ The Major-Domo enters, to announce that dinner is The Actress Clarion ...... Christa Ludwig (mezzo-soprano) Domo enters, and lights the candles assisted by two served. The Countess waves at her reflection with her Monsieur Taupe, the Prompter ...... Rudolf Christ (tenor) other servants. fan and goes into the dining-room. The Major-Domo, An Italian Soprano ...... Anna Moffo (soprano) ^ The Countess asks where her brother is and the amazed at her behaviour, watches her and then looks An Italian Tenor ...... Dermot Troy (tenor) Major-Domo tells her that the Count has accompanied back at the mirror. The Major-Domo ...... Karl Schmitt-Walter (baritone) Clarion to Paris. The Countess reflects on his carefree A Servant ...... Wolfgang Sawallisch (baritone) nature. The Major-Domo goes on to mention that David Patmore Eight Servants ...... Edgar Fleet (tenor) Olivier will come tomorrow morning to learn from the 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) Philharmonia Orchestra Wolfgang Sawallisch

Recorded in Kingsway Hall, London, 2 - 7, 9 and 11 September, 1957 and 28 March, 1958 First released on Columbia 33CX 1600 through 1602 Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

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R. STRAUSS Also Available Capriccio

SCHW TH AR BE Z A K S O I P L F E

8.111011-13 8.111014-15

195 ing 7 – 58 Record

Elisabeth Schwarzkopf · Eberhard Wächter · Nicolai Gedda Dietrich Fischer-Dieskau · Hans Hotter · Christa Ludwig 8.111033-34 8.111145 Philharmonia Orchestra Wolfgang Sawallisch

8.112034-35 12 NAXOS Historical R. STRAUSS: Capriccio 8.112034-35 poses Time Playing 2:14:50 Capriccio MONO Scenes I - VIIIScenes I - Scene IX (part one) 22:27 53:26 Scene IX (part two)Scenes X - XIII 28:06 30:51 ADD * ¶ ! ¡ - - - - 8.112034-35 CD 11 ( 75:53 CD 21 @ 58:57 Richard (1864 – 1949) (1864 Capriccio STRAUSS Wolfgang Sawallisch Wolfgang Philharmonia Orchestra Recorded in Kingsway Hall, in Kingsway Recorded London, 2 - 7, 9 and 11 September, 1957 and 28 March, 1958 www.naxos.com Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark photo:Cover (Private Collection) Elisabeth Schwarzkopf Immediately recognised as one of the composer’s greatest and most subtle works, greatest as one of the composer’s recognised Immediately the central dilemma in opera:the central dilemma in important, what is more The legendary Hall during Kingsway or the music? in London’s the words recording this landmark Legge produced Walter producer record 1957 and 1958, as the Countess. Elisabeth Schwarzkopf with his wife some She is accompanied by the day,of the finest singers of Wächter, Eberhard including NicolaiDieskau, Gedda, Christa Dietrich Fischer- Ludwig, as a be recognised come to has subsequently and Hans Hotter, merits that this mono recording its musical are great the rôle of Olivier at the première. who had created So right. masterpiece in its own The Countess...... Elisabeth Schwarzkopf The Count, her Brother ...... Wächter Eberhard Flamand, a Musician ...... Gedda Nicolai Olivier, Poet a ...... Dietrich Fischer-Dieskau La Roche, DirectorTheatre the ...... Hotter Hans ClarionActress The ...... Christa Ludwig

All rights in this sound recording, artwork, texts and translations reserved. Unauthorised public performance, broadcasting and copying of this compact disc prohibited. ൿ & Ꭿ 2010 Naxos Rights International Ltd. Made in Germany

NAXOS Historical Schwarzkopf • Wächter • Sawallisch 8.112034-35 8.112034-35 rr Capriccio_EU 14-12-2009 10:01 Pagina 1 Pagina 10:01 14-12-2009 Capriccio_EU rr 8.112034-35 8.112034-35 rr Capriccio_EU 14-12-2009 10:01 Pagina 2

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