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STRAUSS: Capriccio.(Review)

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| February 01, 2001 | MADISON, WILLIAM V. | COPYRIGHT 2001 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

STRAUSS: Capriccio

[] Lott, Vermillion; Kunde, Genz, Allen, yon Kannen; SWR Radio-Sinfonieorchester Stuttgart, SWR Vokalensemble Stuttgart, Pretre. Text and translations. Forlane 268052 (Empire, dist.)

Richard Strauss's last opera, Capriccio, purports to join the age-old opera debate between words and music. Accordingly, the libretto, by Strauss himself in collaboration with conductor Clemens Krauss, is a polished gem of elegance and charm. Friends and philosophies are gently mocked, and the central aesthetic dispute is wittily embodied in the rivalry between a poet (Olivier) and a composer (Flamand) for the love of a countess. But there's really no contest: music wins. As if he knew it would be his last, Strauss crammed the score with inventive parody, sensual melody, a freestanding string sextet and an overwhelming solo for the Countess.

Sexy and smart, she is among the most rewarding of Strauss's heroines. It's a dream part for Felicity Lott, and she makes the most of it. Some of her predecessors (notably Elisabeth Schwarzkopf, recorded in 1958 and now available on EMI 67391) boasted native fluency in German and an almost obsessive attention to nuance, but Lott ...

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