The principal horn gave a particular moving performance to evoke moonlight.Ĭapriccio may not be as apolitical as it seems on the surface. Under Leo Hussain the Santa Fe Orchestra played with spunk from the sublime sextet that opens the opera on to the glorious harmonic textures that we associate most closely with Strauss.
David Goversten as the impresario Max Reinhardt, Strauss’ good friend, sings a beautiful paean to the theatre. Strauss himself comes perilously close to giving us legitimate theatre before siding with the song. Embodying the composer’s dilemma in two characters has always helped dramatize the debate. Tim Albery directs for the opera’s high spirits. Here we have a flamboyant Graham as a cross between Katherine Hepburn and Lauren Bacall, in wide pants and a jacket and also wearing good humor. Luxury casting finds a radiant Susan Graham singing Clairon, a talented actress tied to a no- so-talented but very amusing Count whose lack of talent drives her around the bend. Elegance will be championed over modernity. In and of itself the voice makes the case for music with beautifully shaped phrases.Ī Jean Arp-like modern painting is replaced by an 18 th century classic portrait with a distinguished dog in the entranceway to the Countess’ salon. Majeski honors the composer as she delivers the goods.īen Bliss is the human embodiment of music, and bears a mustache resembling the young Strauss along with spectacles. Her final aria is one of Strauss’ loveliest tributes to song. Majeski floats notes at the top of her range, and has a luscious tone. It successfully forms the arc of the dialogue. Her choice reflects both the man and occupation. Here she captures the Countess’s spirit and dilemma in a love quandary: Who to choose, a composer or a poet.? The men are pitted against each other. Amanda Majeski, a soprano on a rapid rise to the top, trained at the Ryan Center of the Lyric Opera of Chicago, and has moved up the opera ranks in her home state. The Santa Fe production, in collaboration with Garsington Opera at Wormsley, is delightful.
Capriccio is one opera nested in another. The Countess will not choose between words and music, because if she does, the opera that is about to unfold, cannot happen. In many ways Capriccio is an opera insider’s pleasure, yet all opera goers will get caught up in the beauty of its music and performance.
Photo credits Ken Howard Courtesy of the Santa Fe Opera. Production: Tim Albery (Director), Tobias Hoheisel (Scenic and Costume Design), Malcolm Rippeth (Lighting), Jodi Melnick (Choreography). The Countess listens to the Composer make his case as the poet listens.Ĭast: Ben Bliss (Flamand), Joshua Hopkins (Olivier), David Govertsen (LaRoche), Amanda Majeski (The Countess), Craig Verm (The Count), Susan Graham (Clairon), Adrian Smith (The Major-Domo), Allan Glassman (Monsieur Taupe), Beth Miller (A young dancer).
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