Such a wonderful ending, Strauss truly understood theater and found a magical and highly intelligent way of putting the question 'word or music ' together. I was lucky to say Renee live in Vienna with Capriccio, truly a performance never to forget.
Renée is doing her best... BUT I’am German ... I don’t hear a German word... this season Diana Damrau in the same production... we will see .. my favourite was Jessey Norman and Her Strauss
Rostover: 'Capriccio' is about Madeleine (the Countess) who commissioned an opera for her birthday. This finale is a scene from the 'opera'. The 'character' is based on Madeleine. You also see the real Madeleine in the audience (this shot added during post-editing, not during the live performance). So it's like Madeleine is seeing herself in the opera.
I don't have to search I have seen it many times in my long life as an opera goer. This is probably the most moving presentation one can see, especially if like me you wanted to be a dancer and did not fulfill your vocation.....
The two chairs represent the poet and the composer whom she is torn between. They also represent words and music, two crucial elements of opera. In the last few seconds of this video, the background lifts to reveal the empty stage behind, and the make-up crew comes on view, reminding us that opera is just an illusion. I guess you could say that 'Capriccio' is opera deconstructed!
Fleming is very popular among today's crop of sopranos, but it is very revealing to contrast this peformance with the voice of Gundula Janowitz in this same role. The same is true for Strauss' "Four Last Songs."
I would consider Renee Fleming to be the greatest Strauss soprano of our time. The production is unusual to say the least, but it's definitely creative.
@brojohannes I agree, the ballet dancer is unique only to this production. The original stage direction never mentions it. In the original, she asks her reflection if there is a way to choose without seeming trivial. That's when the major enters and she decides not to decide. The ballet dancer could symbolize many things but does not indicate that she has chosen between music and poetry.
This is not a setting; the Paris old Opera house stage has a backstage called the "Danse foyer" of 25m depth, in the same style as the opera itself; in total from the proscenium to the end of the foyer the stage is 50m long by 46m width. It is unique in the world and enables the famous défilé of the Ballet company opening the season.
Peut-être, mais c'est moisn évident. N'oublions pas que nous sommes dans la chateau de la comtesse et sur la scène de l'opera de ce chateau. Cela dit c'est une magnifique production. La précédente aussi fut fantastique avec Lott ds le role principale et une scenographie nous faisant parcourir les siècles pour montrer la permanence de la question posée par les deux artistes.
The acting and moving were disappointingly ecstatic during the aria, but the end (with the contess and the artists in the boxes and the 'backstage' of the end of the opera) was an AWESOME idea for setting the opera to tv exhibition.
Pas du tout ni Olivier ni Flamand ne sortent vainqueurs; La comtesse ne décide pas et c'est pourquoi elle laisse les deux livrets derrière elle que le maitre d'hôtel ramasse.
Strauss was a German Conservative but not a Nazi though his wife was a fairly nasty piece of work. His daughter in law was Jewish and the original and main librettist for this piece (and a personal friend of Strauss) was Stefan Zweig who was also Jewish. In fact, Strauss went onto Josef Goebbels 'hit list' for having Jewish collaborators. In fact, you can take Capriccio as a kind of allegory about the death of traditional European bourgeois high culture which was being killed off by the Nazis. Its part of a series of late works including Metamorphosen, Vier letzte Lieder and the Oboe Concerto which are a long lingering farewell to that culture.
Taí uma ópera que acho chata..... a ópera!!!! A MÚSICA É BOA DEMAIS..... Mas o enredo é sem graça, comparado a outras... De Strauss, a melhor é Elektra!!!!!
This woman needs to learn how to walk/move through a stage. Check it out at 1:08. And why is she singing to the gallery? Someone should have told her this is not Salome's Final Scene but Capriccio's. I find the whole thing cheesy, not least the jazzy scooping and sliding between notes and the MTV-video/cardboard-quality to her acting.
One of the great finals in all opera. This is perfection. Richard Strauss wrote for Ms. Flemming.
Strauss's final opera. What a send off!! Tremendous singing by Renee Fleming.
Un placer escucharla.!!
Such a wonderful ending, Strauss truly understood theater and found a magical and highly intelligent way of putting the question 'word or music ' together. I was lucky to say Renee live in Vienna with Capriccio, truly a performance never to forget.
Que maravillosa voz... Renée fleming, exquisita como siempre
Renée is doing her best... BUT I’am German ... I don’t hear a German word... this season Diana Damrau in the same production... we will see .. my favourite was Jessey Norman and Her Strauss
Renée Fleming est une des plus grandes voix actuelles. Ici, elle est éblouissante.
Merci
Jackylen57
Whoa! That ending took me by total surprise. The dancer at the end was an unexpectedly beautiful touch.
Wow, fabulous set for such wonderful singing.
Rostover: 'Capriccio' is about Madeleine (the Countess) who commissioned an opera for her birthday. This finale is a scene from the 'opera'. The 'character' is based on Madeleine. You also see the real Madeleine in the audience (this shot added during post-editing, not during the live performance). So it's like Madeleine is seeing herself in the opera.
I don't have to search I have seen it many times in my long life as an opera goer. This is probably the most moving presentation one can see, especially if like me you wanted to be a dancer and did not fulfill your vocation.....
Fabuleuse mise-en-scène !!!
Wonderful Fleming !
What a power voice! Delicious stereo and basses.
The two chairs represent the poet and the composer whom she is torn between. They also represent words and music, two crucial elements of opera. In the last few seconds of this video, the background lifts to reveal the empty stage behind, and the make-up crew comes on view, reminding us that opera is just an illusion. I guess you could say that 'Capriccio' is opera deconstructed!
I love this finale😭😍
なんと新鮮な音楽！涙が溢れてくる。
Fleming is very popular among today's crop of sopranos, but it is very revealing to contrast this peformance with the voice of Gundula Janowitz in this same role. The same is true for Strauss' "Four Last Songs."
great great great !!!!
I would consider Renee Fleming to be the greatest Strauss soprano of our time. The production is unusual to say the least, but it's definitely creative.
Try listening to Felicity Lott or go back a bit to Lisa della Casa.
Veramente deliziosa e unica 🌹
Espléndida!!
@brojohannes I agree, the ballet dancer is unique only to this production. The original stage direction never mentions it. In the original, she asks her reflection if there is a way to choose without seeming trivial. That's when the major enters and she decides not to decide. The ballet dancer could symbolize many things but does not indicate that she has chosen between music and poetry.
This is not a setting; the Paris old Opera house stage has a backstage called the "Danse foyer" of 25m depth, in the same style as the opera itself; in total from the proscenium to the end of the foyer the stage is 50m long by 46m width. It is unique in the world and enables the famous défilé of the Ballet company opening the season.
Peut-être, mais c'est moisn évident. N'oublions pas que nous sommes dans la chateau de la comtesse et sur la scène de l'opera de ce chateau. Cela dit c'est une magnifique production. La précédente aussi fut fantastique avec Lott ds le role principale et une scenographie nous faisant parcourir les siècles pour montrer la permanence de la question posée par les deux artistes.
@musicman43 what's wrong with an interior monologue being "sold"? i think this is brilliant.
EXQUISITA
how nice is to be a woman opera singer, with all those nice big gowns all the time!
Both Renée Flemings look beautiful in this production. Lol.
Too bad picture and sound seem to be out of sync.
@CELINECALLAS "Luky," I agree.
I totally agree with tenore23: glorious it became.
The acting and moving were disappointingly ecstatic during the aria, but the end (with the contess and the artists in the boxes and the 'backstage' of the end of the opera) was an AWESOME idea for setting the opera to tv exhibition.
I came for Françoise Saguan's book, The Painted Woman
Splendide. Mais que sont les syllabes devenues?
C'est la victoire de Flamand sur Olivier...
es tut mir leid... ich höre kein deutsches Wort ... ich freue mich auf Diana Damrau in dieser Inszenierung
Pas du tout ni Olivier ni Flamand ne sortent vainqueurs; La comtesse ne décide pas et c'est pourquoi elle laisse les deux livrets derrière elle que le maitre d'hôtel ramasse.
The music and video were way out of synch., very annoying.
the most convincing scenic solution to sort out the Nazi Kitsch of this doubtful opera.
romeosbleeding100ify nazi kitsch? wow! That might need some backing up.
Strauss was a German Conservative but not a Nazi though his wife was a fairly nasty piece of work. His daughter in law was Jewish and the original and main librettist for this piece (and a personal friend of Strauss) was Stefan Zweig who was also Jewish. In fact, Strauss went onto Josef Goebbels 'hit list' for having Jewish collaborators.
In fact, you can take Capriccio as a kind of allegory about the death of traditional European bourgeois high culture which was being killed off by the Nazis. Its part of a series of late works including Metamorphosen, Vier letzte Lieder and the Oboe Concerto which are a long lingering farewell to that culture.
Taí uma ópera que acho chata..... a ópera!!!! A MÚSICA É BOA DEMAIS..... Mas o enredo é sem graça, comparado a outras... De Strauss, a melhor é Elektra!!!!!
This is not Fleming at her best- over mannered/over acted and very stylised in her singing. What is the deal with the chair??
This woman needs to learn how to walk/move through a stage. Check it out at 1:08. And why is she singing to the gallery? Someone should have told her this is not Salome's Final Scene but Capriccio's. I find the whole thing cheesy, not least the jazzy scooping and sliding between notes and the MTV-video/cardboard-quality to her acting.
doGreatartistsgrowontrees? X. LIghten up!!!
You don´t seem to like her, right? ;-)
They did call her La Scoopenda .